Journal articles: 'Chinese mythology'

1

Aijmer, Goran, and Anne Birrell. "Chinese Mythology: An Introduction." Journal of the Royal Anthropological Institute 2, no. 1 (March 1996): 168. http://dx.doi.org/10.2307/3034649.

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Hegel, Robert E., and Anne M. Birrell. "Chinese Mythology: An Introduction." Chinese Literature: Essays, Articles, Reviews (CLEAR) 18 (December 1996): 205. http://dx.doi.org/10.2307/495635.

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Musurmanov Erkin. "Representations of the origin of the universe in ancient and centrasiatic mythology." International Journal on Integrated Education 3, no. 6 (June 24, 2020): 52–55. http://dx.doi.org/10.31149/ijie.v3i6.406.

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This article discusses the interpretation of the main gods of the Uzbek (Turkic) and Chinese mythology, their similar and distinctive features. Comparing the deities of Chinese mythology Pangu and Uzbek mythology Tengri, as well as the goddesses of Chinese and Uzbek mythology Nyuva and Umai, it is concluded that there is the unity of the genesis of the main gods of the pantheon of mythology of the two peoples.

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Wang, Jiashen. "Exploring the New Interpretation of the Fengshen Story." Communication, Society and Media 7, no. 2 (July 14, 2024): p1. http://dx.doi.org/10.22158/csm.v7n2p1.

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As a classic Chinese mythology novel, Fengshen yanyi (Investiture of the Gods) is famous for its cultural value, historical value and social value. The story of “Fengshen” is also considered a rich source of inspiration for entertainment and cultural industries in China, influencing a wide range of audiences with diverse backgrounds. As developing the potential “story universe” of Fengshen has become a hot topic in the Chinese film market, reinterpreting Chinese mythology needs to be focused on. Based on the case of the “Fengshen story”, this study aims to explore the new context of Chinese mythology by collecting and analyzing secondary research, categorizing and organizing the findings, and discussing further research from different perspectives, thereby understanding the modern adaptations of traditional Chinese mythology and suggesting a bright future of conducting interdisciplinary research on Chinese mythology in the new context.

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Akhmetbek, G., and R. Zhusupov. "A BRIEF HISTORY OF THE DEVELOPMENT OF CHINESE MYTHOLOGY." Bulletin of the Korkyt Ata Kyzylorda University 60, no. 1 (2022): 175–83. http://dx.doi.org/10.52081/bkaku.2022.v60.i1.023.

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Chinese mythology is rich in characters invented by the boundless fantasy of the human race, there are more than a thousand of them. Mythological works are directly related to literature, therefore legends and fairy tales, where these characters appear, influenced the literature of China, and sometimes even intersect with its history.At the beginning of our era, interest in China was focused on all the unusual and strange phenomena and things that could arise as a reaction to the "dry" practice of the followers of Confucianism. Remnants of myths, folk legends and beliefs began to appear on paper. Even the titles of books of that time testify to the authors' interest in a strange and incomprehensible phenomenon: "A beautiful and amazing description", "Beautiful fairy tales", "A unique and amazing story." Some of these books were created to imitate the ancient "Book of Mountains and Seas", which is the main source of information for researchers of ancient Chinese mythology. These remarkable collections of historical records have provided researchers with a wealth of material. They also greatly influenced the development of Chinese stories, which received plots and motives from these collections. Many centuries later, in the 16th century, Xu Zhong-Lin wrote the epic novel "Ascension of the Spirits" based on myths, in which he developed the ancient imaginations of the ancients. Zhou Yu, who lived in the 17th century, tried to combine myths into epics, calling them "Legends of the creation of the world".

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Tu, Xiaofei, and Wendy Xie. "The Kojiki/Nihon Shoki Mythology and Chinese Mythology: Theme, Structure, and Meaning." Religions 12, no. 10 (October 18, 2021): 896. http://dx.doi.org/10.3390/rel12100896.

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This essay will compare myths found in the Kojiki and the Nihon Shoki with thematically and structurally similar Chinese myths, and other Japanese texts, in order to shed light on the meanings of both Japanese and Chinese mythology. The authors’ approach is partly in the critical textual study tradition that traces back to Gu Jiegang and Tsuda Sokichi, and partly informed by comparative mythologists, such as Matsumae Takeshi, Nelly Naumann, and Antonio Klaus, with attention to Proppian and Levi-Straussian motifs in structural studies. First, we shall discuss some common themes in Chinese and Kojiki/Nihon Shoki myths. Second, we shall point out common structures in both Chinese and Japanese myths. Finally, we shall try to show how such common themes and structures could potentially help us understand the meanings of the myths in discussion.

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Milanova, Elitsa. "Chinese Mythology and Transmedia Storytelling." Chuzhdoezikovo Obuchenie-Foreign Language Teaching 49, no. 2 (May 2024): 195–205. http://dx.doi.org/10.53656/for2024-02-08.

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The article analyzes the representation of Chinese mythology in the movie “Shang-Chi and the Legend of Ten Rings” and the movie as liguodidactic tool for learning Chinese language and culture. It studies the potential of lessons based on transmedia storytelling approach and transmedia storytelling products. Based on the new perception of knowledge as market product, the advantages of using marketing strategies for education are justified.

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Xinyu, Ye, and Muhammad Anas AL-Muhsin. "COMPARATIVE STUDY ON MYTH BETWEEN CHINESE AND ARABIC: PHOENIX AS AN EXAMPLE." International Journal of Humanities, Philosophy and Language 3, no. 10 (June 10, 2020): 12–17. http://dx.doi.org/10.35631/ijhpl.310002.

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The myth of a nation reflects the collective memory of the nation and is the source of the philosophy, religion, and literature of the nation. Since the 1930s, mythological research has gradually emerged in China, but there are few comparative studies on Chinese and Arab mythology. Comparative study on myth between Chinese and Arabic: Phoenix as an example in terms of social values and national traits. This article is based on the specific exploration of the mythical image of Phoenix. The records of the Arab world for the phoenix are derived from some ancient Arabic books and this research on Arab mythology starts with basic old books and expands the research materials on Arab mythology. Therefore, providing more research texts for foreign Arab mythological researchers becomes the core task in this article. Under the background of the current research, we seek an updated perspective to focus on the imagery problems in Arab Chinese mythology, especially the image of Phoenix, not only for ancient China and Arab mythology. Research work injects new power, and more importantly, enriches the study of folk literature. This article introduces the meaning of mythology and carries out preliminary preparations such as text analysis, theoretical study, and translation tools, and also discusses the inheritance and development of Chinese Arab folk culture. Folk culture is the foundation of a nation's development. The writing of phoenix in Chinese mythology is an important part of ancient Chinese folk culture. Similarly, it is also important for Arab mythology. In short, the high and profound cultural endogenous and national spiritual connotations of myths better realize the function of cultivating their national spirit.

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Zhao, Yiming, and Dongfang Zheng. "Traditional Chinese Mythology in Animation Art." Highlights in Art and Design 3, no. 3 (July 20, 2023): 61–63. http://dx.doi.org/10.54097/hiaad.v3i3.11220.

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Chinese traditional myths, as an important part of Chinese culture, have been widely applied and expressed in animation art. From the perspective of animation art, this paper will discuss in depth the expression forms and expression methods of traditional Chinese myths in animation art, including the use of myth elements in animation, the creation of myth characters, the way of narrating myth plots, and the expression of myth meanings. Through analyzing and comparing related animation works, this paper will explore the performance characteristics of Chinese traditional myths in animation art and its relationship with contemporary animation art, so as to provide reference for the inheritance and development of Chinese traditional culture.

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Wang, Xiaoyu. "A New Interpretation of the Traditional Ethnic Rational Spirit Presented by Ancient Chinese Myths." International Journal of Languages, Literature and Linguistics 8, no. 4 (December 2022): 313–16. http://dx.doi.org/10.18178/ijlll.2022.8.4.368.

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Ancient Chinese myths are the source of Chinese culture, contain the emotions and thoughts shared by the Chinese nation, and embody the spiritual soul of the Chinese nation. Ancient Chinese mythology is deeply rooted in China's long-standing cultural soil. It is a unique myth that grew up in China, and it permeates the light of oriental wisdom. Purposefully and selectively inheriting the precious spiritual cultural heritage in mythology has positive practical significance for us. The content of ancient Chinese myths is rich and allencompassing. The main feature is that it advocates reason and morality, and emphasizes ethics. It conveys the spirit of dedication, fighting and struggle of the primitive people in the confrontation with the natural and social environment. This kind of spirit allows people to draw strength and courage from it, so that human beings can go through all kinds of difficulties and come to today with a smile. This paper mainly uses the method of literature analysis to excavate and sort out the salient features of the concept of rationality in ancient Chinese mythology, try to judge and reflect on ancient mythology with today's value and vision, and provide theoretical and practical support for the promotion of our country's traditional culture and national spirit and historical references.

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Liu, Yuqing. "A New Model in the Study of Chinese Mythology." Journal of Chinese Humanities 3, no. 1 (February 8, 2017): 1–22. http://dx.doi.org/10.1163/23521341-12340040.

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Chinese mythology [shenhua 神話] does not exist independently as a cultural medium like mythology does in the West but, rather, comprises ideological and narrative forms that emerge according to historical and cultural trends. Not only have myths withstood humanity’s conquest of nature, but they have drawn and continue to draw on the mysteries of scientific development for new content. It is possible to identify three highpoints of creativity in the history of Chinese mythology, each corresponding to shifts in the function and nuance of myths. The first highpoint occurred very early on in China’s ancient history, in the period of the Three Sovereigns and Five Emperors [wudi sanwang 五帝三王], when myths were a way to articulate history—that is, history as myth. The second highpoint occurred in the period from the Qin through Jin dynasties, when mythology mainly expounded on philosophy and theory—that is, philosophy as myth. The third highpoint occurred during the Yuan and Ming dynasties, when the narrative content of mythology turned toward the religious—that is, religion as myth.

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Yoo, Chaewon. "Chinese Mazu mythology, historical evidence, Symbol." DAEGU HISTORICAL REVIEW 134 (February 28, 2019): 327–257. http://dx.doi.org/10.17751/dhr.134.327.

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13

Yang, won-seok. "Understanding of Chinese Mythology through the Chinese Etymological Origins." Journal of Japanese Studies 50 (January 31, 2017): 175–95. http://dx.doi.org/10.18841/2017.50.08.

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YoonHee Hong. "From broader myth to broader mythology－ the extension of mythology by Yuan Ke and Chinese mythology today." Journal of the research of chinese novels ll, no. 33 (April 2011): 1–27. http://dx.doi.org/10.17004/jrcn.2011..33.001.

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15

Kong, Li. "Research on National Cultural Consciousness Construction and Strategy of Chinese New Mythological Animated Films--Taking Nezha: Birth of the Demon Child as an Example." Communications in Humanities Research 11, no. 1 (October 31, 2023): 165–72. http://dx.doi.org/10.54254/2753-7064/11/20231409.

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Chinese neo-mythological films are emerging as a new genre of cinema, attracting more and more creators and audiences. Taking Nezha: Birth of the Demon Child, a representative of the new mythology animated films, as an example, this paper analyses the national cultural awareness embodied in the characterisation and social identity of Chinese new mythology animated films through a documentary research method, and points out that Chinese new mythology animated films can only be better developed if they take into account the nation-al culture and the characteristics of the times. That is, on the basis of preserving the tradi-tional group memory of the nation, creative adaptations are made using a modern vision to gain contemporary popular recognition. The author believes that valuing the uniqueness and value of China's new mythological films in the construction of national cultural awareness will lead to more masterpieces in the future, contributing to the development of the Chinese film industry and even the world's animated films.

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16

Lai, Whalen, and Anne Birrell. "An Anthology of Sources on Chinese Mythology." Asian Folklore Studies 55, no. 2 (1996): 319. http://dx.doi.org/10.2307/1178825.

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Ye, Chao, Ruishan Chen, and Craig Young. "Nian: when Chinese mythology affects air pollution." Lancet 383, no. 9935 (June 2014): 2125. http://dx.doi.org/10.1016/s0140-6736(14)61029-1.

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선정규. "Comparative Research on Chinese Classical Mythology and Greek Mythology - The Sinilarities and Uniqueness -." JOURNAL OF CHINESE STUDIES ll, no. 40 (May 2013): 213–46. http://dx.doi.org/10.26585/chlab.2013..40.009.

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Zheng, Yishuai. "Sisyphus and Wu Gang─Probing into Humanity and Divinity in Ancient Greece and China’s Legends." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 119–23. http://dx.doi.org/10.54097/ehss.v20i.11433.

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This article starts with "Sisyphus" and "Wu Gang" in Greek Roman mythology and Chinese mythology, and analyzes the humanistic deity in the two traditional cultures. Firstly, a brief introduction and comparison were made between the two legends, showcasing the different characteristics of humanistic divinity. Among them, Greek mythology emphasizes the value of human beings, while Chinese divinity emphasizes the harmonious coexistence and moral nature of human beings and nature. People's attention and belief in the two gods also reflect two different value orientations. Finally, this paper makes a cross-cultural analysis of the humanistic deities of the two traditional cultures, points out the different value orientations of collectivism in Chinese traditional culture and Humanism in Greek and Roman culture, and emphasizes the importance and value of both in world culture. This article is an in-depth analysis of the differences between Western and Eastern culture, which will help deepen the cultural differences and value orientations of the two traditional cultures.

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Zhou, Min, and Yan Wang. "A Comparison Between the Goddess Image in Ancient China and Ancient Greek Mythology from the Perspective of Female Values." Learning & Education 8, no. 2 (November 25, 2019): 5. http://dx.doi.org/10.18282/l-e.v8i2.1108.

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<p>Mythology, as a special cultural carrier, can reflect people’s spiritual values in a certain period and region. In ancient Chinese mythology and ancient Greek mythology, there are some goddess with similar attributes or symbolic meaning. Their symbolic attributes essentially represent some specific areas of women’s values, such as fertility, wisdom, love and marriage. Based on the mythology of ancient China and Greece as well as the ancient social background of the two countries, this paper analyzes and compares the goddess images in the myths of the two countries from the perspective of fertility, wisdom, love and marriage in the female values. In the aspect of fertility, China in the matriarchal society showed the worship of the supremacy of women. In the aspect of wisdom, the ancient Greek society affirmed the importance of moral wisdom, and also emphasized the necessity of acquiring personal skills, interests and reputation. In the aspect of love and marriage, women in both countries were victims of the patriarchal society, but the ancient Greek society emphasized the pursuit of individual hedonism and freedom. What’s more, the goddess images in Chinese mythology are romantic, while the goddess images in ancient Greek mythology is more humanistic. From these aspects, the comparative analysis of the two goddesses can reveal the characteristics, social causes and evolution of the ancient women’s values of the people of the two countries.</p><p> </p>

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Diatlov, Victor I., and Elena V. Diatlova. "“Demographic Expansion” – Russian-Chinese Marriages in Migration Mythology." Journal of Siberian Federal University. Humanities & Social Sciences 10, no. 11 (November 2017): 1654–63. http://dx.doi.org/10.17516/1997-1370-0163.

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Zhao, Qiguang. "Chinese Mythology in the Context of Hydraulic Society." Asian Folklore Studies 48, no. 2 (1989): 231. http://dx.doi.org/10.2307/1177919.

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Al-Rawi, Ahmed. "The Rukh and the influence of Chinese mythology." International Communication of Chinese Culture 2, no. 3 (September 29, 2015): 223–33. http://dx.doi.org/10.1007/s40636-015-0023-0.

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Mcneal, Robin. "Constructing Myth in Modern China." Journal of Asian Studies 71, no. 3 (August 2012): 679–704. http://dx.doi.org/10.1017/s0021911812000630.

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This study presents an overview of attempts by Chinese literati during the twentieth century to articulate a coherent Chinese mythology, primarily based on ancient texts but eventually to some extent drawing from ethnographic materials and folklore as well, and all much beholden to Western examples such as Greek and Norse mythology. This examination of text-based activities sets the stage for an inquiry into a wave of monument building during the Reform Era, much of which has celebrated China's ancient myth, history, and legend. A recent park in Wuhan dedicated to the legendary sage ruler and conqueror of floods, Yu the Great, serves as a case study of how, over the last three decades, old Chinese myths have been inscribed on the new Chinese landscape, and allows exploration of this phenomenon in relation to deeper issues concerning the role of myth in Chinese society, particularly its unexpected marriage with modernity.

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Jiao, Xinbo. "Comparison of Chinese and Western Civilizations: A Case Study of Mainstream Creation Mythologies." International Journal of Education and Humanities 14, no. 2 (May 30, 2024): 27–30. http://dx.doi.org/10.54097/m28xsv31.

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Creation myth not only records the birth of all things in the world, but also reflects the understanding of different nationalities on the origin. Due to the differences among nations, the creation myths reflect different national characteristics with universality. This paper makes a comparative study of Greek creation myth, Bible creation myth, Chinese mainstream myth of creation, "Pangu opens heaven" and "Nuwa creates humankind". It is found that the hero worship color dominated by nature worship in Greek mythology and the three classes of "Superman-Nature-Mortal", the nature worship color dominated by hero worship in Bible and the binary opposition between God and man, and the absolute nature worship color in Chinese mainstream mythology. In addition, based on the comparison between Chinese and Western myths, this paper also finds that Western myths embrace duality and systematic feature, while Chinese myths have the characteristics of fragmentation and naturalization.

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Wei, Huige, Dapeng Cui, Junhui Ma, Liqiang Chu, Xiaoyu Zhao, Haixiang Song, Hu Liu, Tao Liu, Ning Wang, and Zhanhu Guo. "Energy conversion technologies towards self-powered electrochemical energy storage systems: the state of the art and perspectives." Journal of Materials Chemistry A 5, no. 5 (2017): 1873–94. http://dx.doi.org/10.1039/c6ta09726j.

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Jiang, Yunshan. "A Comparative Analysis of Female Consciousness in Chinese and Western Mythology." International Journal of Education and Humanities 11, no. 2 (November 6, 2023): 87–90. http://dx.doi.org/10.54097/ijeh.v11i2.13540.

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Female consciousness is an important discussion topic about women in Chinese and Western mythology, and it is also the self-confidence and consciousness of women for their own life experience and value significance in male political society. The similarities and differences of female images in Chinese and Western myths reflect the differences of female status and values in different cultures. The expression of female consciousness in mythology highlights the values of self-liberation and independence of women in the early period of social history. This paper chooses two samples of Xiwangmu(In view of the different opinions on the image of the Xingwangmu in mythology and folk, this paper agrees with the statement recorded in the Shanhaijing, and holds that she is a female deity in ancient times and a right deity who can predict disasters. In addition, this paper also agrees that the Xiwangmu is equal to the role of the Queen Mother, and the Jade Emperor is her husband.) and Hera to compare and analyze the differences of female consciousness in Chinese and Western myths, presents the female consciousness from three aspects of power concept, marital status and family consciousness, and explores its differences and causes. This provides a reference for the salvation of self-consciousness of Chinese and western women, and can encourage contemporary women to have the courage to pursue self and freedom positively.

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Zheng, Wenxuan. "The role of black color in the history of Russian, French and Chinese mythology and folklore." Genesis: исторические исследования, no. 5 (May 2024): 46–55. http://dx.doi.org/10.25136/2409-868x.2024.5.70659.

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The subject of the article is the symbolic meaning of black color in the culture and folklore of various civilizations, especially in the Russian, French and Chinese traditions. The research aims to identify the evolution of the perception of black color over time and its role in religious, mythological and socio-cultural contexts. The author examines the transformations of the symbolism of the black color, its connection with myths, rituals and ideas about the world in various cultures, as well as its significance as a reflection of social and cultural norms and values. The research is aimed at identifying common and unique features in the perception of black color, its role in religious and ritual practices. The methodology is based on the collection and analysis of cultural texts on the symbolism of the black color in Slavic and Chinese cultures. Comparative analysis and contextual research methods are used to identify the role and significance of black color in culture and society. The novelty of the research lies in the analysis of the symbolism of black color in Russian, French and Chinese cultures through the prism of mythology and folklore. In Russian mythology and folklore, black color is associated with dark forces, death and the afterlife. It is dangerous, but it also has protective properties. In French mythology and folklore, black color is often associated with mystery, magic and riddles. It may symbolize death, but it also carries elegance and style. In Chinese mythology and folklore, black color is usually associated with death and ancestor worship. It can also symbolize power and authority. These results not only expand our understanding of mythological representations, but also highlight the importance of cultural context in interpreting color symbols.

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Hu, Liu. "Images of ‘Bad Weather’ in the Folk Mythology of Asia and Europe (Based on Chinese and Serbian Traditions)." Вестник Пермского университета. Российская и зарубежная филология 13, no. 4 (2021): 52–62. http://dx.doi.org/10.17072/2073-6681-2021-4-52-62.

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The article deals with mythological characters that represent ‘bad weather’ phenomena such as drought, hail, whirlwind, thunder, and lightning. Folk ‘lower’ mythology pays much attention to the manifestations of bad weather, which reflects the understanding of nature by man. Many ancient Chinese myths and legends originated in Shandong province, where numerous meteorological mythological motives were created. At that time, human life depended on weather, therefore a lot of folklore rich in meteorological mythological motives and imagery was created. The representations of bad weather in Shandong province studied in the paper are based on Chinese literature related to ancient mythology. As to Serbian culture, it has accumulated the beliefs of various ethnic groups of the Balkans. The Serbian cultural and linguistic space has strong ties with adjacent folk traditions – Bulgarian, Montenegrin, Bosnian, Herzegovinian, etc. Accordingly, Serbian mythology reflects the culture of the Balkan Slavs. The article analyzes common and individual features in mythologies concerning unfavorable weather conditions in Shandong and Serbia. The etymology of the names, myths and legends associated with the characters personifying ‘bad weather’ phenomena is investigated. The connection with local rituals, customs and ethnoculture of Shandong province and Serbia is indicated. The study is based on the methods of the Moscow ethnolinguistic school and the materials presented in the ethnolinguistic dictionary Slavic Antiquities. The paper discusses the isofunctionality of the Chinese and Serbian mythology of bad weather. The purpose of this study is to supplement the cultural and linguistic picture of bad weather phenomena through involving data from two unrelated cultures at the level of mythological memory.

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LaFleur, Robert André. "Time, space, and the calendar in early Chinese mythology." International Communication of Chinese Culture 8, no. 1 (February 23, 2021): 65–82. http://dx.doi.org/10.1007/s40636-021-00214-4.

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Yan, Niu. "The polygenetic nature of K.D. Balmont's poetics and cultural traditions of ancient China." Solov’evskie issledovaniya, no. 1 (March 30, 2024): 125–37. http://dx.doi.org/10.17588/2076-9210.2024.1.125-137.

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The article discusses the polygenetic nature of K.D. Balmont's poetics on the basis of underinvestigated materials related to ancient Chinese cultural traditions by using the principles of comparative studies, historical poetics, hermeneutics and the mythopoetic method. The object of the analysis is the “Chinese” cycle, consisting of five sonnets included in Balmont's collection of poems “Sonnets of the Sun, Honey and Moon. Song of the Worlds” (1917). Special attention is paid to the analysis of the mythological images, motives and plots in these poems, identifying their sources and revealing the poet's creative intention. It is taken into account that S.M. Georgievsky's book “Mythical beliefs and myths of the Chinese” (1892) had a significant influence on Balmont's perception of Chinese mythology and it is an important basis for the creation of these sonnets. It is claimed that the source of this cycle is the Chinese treatise “Huainan Tzu” (Philosophers from Huainan, no later than 139 BC), which is essentially a Taoist philosophical work. It is noted that Balmont's reference to “Huainan Tzu” testifies to his continuing attention to Taoism, which turned out to be one of the main sources of the poet's spiritual exploration. The theme of the Eternal Femininity in this cycle is considered as a point of contact between the Silver Age culture and ancient Chinese culture, primarily Solovyov's doctrine of Sophia and Lao Tzu's philosophy. It is concluded that, firstly, Balmont's sonnets can be perceived not only as an attempt to stylize ancient Chinese myths, as researchers often assume, but also as a phenomenon indicating the transformation of the semantics of the myth created by the poet and its deepening on the basis of mythological traditions of ancient China. Secondly, the use of common motifs in Eastern and European mythology and the combination of Chinese mythology with the European poetic form reflects the polygenetic nature of Balmont's poetics and the contamination of traditions.

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Pulkkinen, Tuuli, Mia Vepsäläinen, Henna Konu, Katja Pasanen, and Raija Komppula. "Mytologiasta vetovoimaa? – Kalevalan kiinnostavuus itäaasialaisten kohderyhmien näkökulmasta." Matkailututkimus 19, no. 1 (September 16, 2023): 6–28. http://dx.doi.org/10.33351/mt.122979.

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Myths and legends are representative of the unique cultural aspects of ethnic communities and, thus,fruitful resources of meaningful stories that can attract tourists and simultaneously convey meaning to their experiences. This study aims to increase understanding of the attractiveness of mythology-based tourism products among East Asian target markets. The aim is to examine how interested Chinese, Japanese and Koreans are in products that are based on stories and themes of Finnish mythology, as represented in the Finnish national epic Kalevala. Thematic interviews were conducted among Chinese, Japanese and Koreans living in Finland. In the interviews two stories from Kalevala (the stories of Aino and Sampo) were utilized along with three themes strongly linked to Kalevala: nature, sauna and bear. The findings indicate that Kalevala and Finnish mythology are not familiar enough in the Asian target markets to be a significant pull factor itself for the tourists. However, the interest in the stories and mythical content shows that they can be used as elements that add value to tourism products. The findings also show differences in what the Chinese, Japanese and Koreans value and pay attention to. The findings provide customer insight for tourism product development in the target markets. Attention should be paid to how the stories and mythical themes are integrated into tourism products. Highlighting the linkages of Kalevala to the cultures of the target markets could also make it more appealing and easier to understand.

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Qin, Jiayang. "How to Retell the Chinese Myths in the Neo-Mysticism: The Analysis of the Chinese Mythology Game." Highlights in Art and Design 4, no. 3 (December 20, 2023): 91–95. http://dx.doi.org/10.54097/lb6vt890.

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Under the cultural wave of "neo-mysticism" in the 1990s, countries began to carry out "myth retelling" activities. It subverts traditional mythological values, deconstructs and constructs the meaning of traditional mythology, and embodies the value of contemporary mythology. In the context of contemporary neo-mysticism, the retelling of myth has been inextricably linked with the cultural production focusing on content and creativity. As a new mass culture consumer goods after film and television and music, with the help of the communication advantages of new media, the scope of cultural radiation of games is increasing and its influence is becoming more and more extensive. It becomes a global popular culture phenomenon. And it is also coerced into the whirlwind of neo-mysticism that swept the world. The wedging of myth enriches the cultural meaning and content creativity of the game, and completes a cultural communication with its global entertainment consumption. Therefore, this study focuses on the emerging trend of neo-mysticism. Through participatory observation of role-playing games - Honor of Kings and Lady White Snake, in-depth interview and questionnaire survey of game users, this study deduces and summarizes the techniques of myth retelling involved in the game, in order to provide reference for the mythological retelling of other art forms, and promote the spread of Chinese mythological culture under the trend of neo-mysticism.

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Yoo, Sumin. "Inventing the Modern Mythology: Chinese 3D Animation Ne Zha (2019)." Korea Journal of Chinese Language and Literature 78 (December 31, 2019): 249–85. http://dx.doi.org/10.46612/kjcll.2019.12.78.249.

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Riftin, Boris, Boris Parnickel, Li Shujiang, and Karl W. Luckert. "Mythology and Folklore of the Hui: A Muslim Chinese People." Asian Folklore Studies 57, no. 2 (1998): 370. http://dx.doi.org/10.2307/1178766.

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JUNGJAESEO. "Chinese Myths in Choi, Namsun’s Mythology and It’s Cultural Meaning." Journal of the research of chinese novels ll, no. 35 (December 2011): 385–401. http://dx.doi.org/10.17004/jrcn.2011..35.017.

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Grozin, Andrey. "KAZAKH-CHINESE COOPERATION IN THE ENERGY SECTOR AND XENOPHOBIC MYTHOLOGY." Россия и Китай: история и перспективы сотрудничества, no. 1 (2022): 465–75. http://dx.doi.org/10.48344/27823768_2022_12_465.

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Huang, Hua-Lun. "Ritual & Mythology of the Chinese Triads: Creating an Identity." Crime, Law and Social Change 41, no. 3 (April 2004): 283–88. http://dx.doi.org/10.1023/b:cris.0000024475.52780.b2.

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Ownby, David, and Berend J. ter Harr. "Ritual and Mythology of the Chinese Triads: Creating an Identity." Harvard Journal of Asiatic Studies 60, no. 1 (June 2000): 324. http://dx.doi.org/10.2307/2652713.

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Maglova, Diana. "THE CHINESE DRAGON AND THE BULGARIAN ZMEY. PSYCHOLOGY OF MYTHOLOGY." Diplomatic Economic and Cultural Relations between China and Central and Eastern European countries 7, no. 1 (April 1, 2022): 371–87. http://dx.doi.org/10.62635/389c-ykvp.

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This scientific work, in its characteristic exposition, is a modest attempt at a comparative description of one of the most famous mythical creatures from ancient legends and its incarnations in the fabulous folk art of two peoples, which at first glance are distant and different, but both unique. antiquity and culture. The comparison between the dragon and the dragon and the other theriomorphic images perfectly illustrates the laws of myth-making, its diffusion and its modeling ability.This scientific work, in its characteristic exposition, is a modest attempt at a comparative description of one of the most famous mythical creatures from ancient legends and its incarnations in the fabulous folk art of two peoples, which at first glance are distant and different, but both unique antiquity and culture. The comparison between the dragon and the dragon and the other theriomorphic images perfectly illustrates the laws of myth-making, its diffusion and its modeling ability.

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Li, Ruijun. "The Application of Traditional Chinese Cultural Elements in Fantasy Costume Drama - A Case Study of “Love Between Fairy and Devil”." SHS Web of Conferences 159 (2023): 02004. http://dx.doi.org/10.1051/shsconf/202315902004.

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The spread of Chinese TV dramas cannot be separated from the strong underpinnings of Chinese stories. Strengthening the multifaceted presentation of traditional culture is an indispensable element in creating quality TV dramas with culture, connotation and Chinese characteristics. With a unique oriental narrative and a unique oriental romantic audio-visual language, the fantasy ancient idol drama “Love Between Fairy and Devil” restores a beautiful oriental fantasy world, which helps to reshape the audience’s visual imagination of Chinese classical mythology, conveys the unique charm of Chinese traditional culture to the audience, and promotes the further “going out” of traditional culture.

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Vasic, Danijela. "Solar deity in Japanese mythology." Bulletin de l'Institut etnographique 72, no. 1 (2024): 59–78. http://dx.doi.org/10.2298/gei2401059v.

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In order to create an orderly state, the first imperial chronicles emerged in the early 8th century in the territory of modern Japan through the integration and systematization of mythical elements that proved the legitimacy of the government and the descent of the imperial Yamato lineage from the supreme deity of the Shinto pantheon - the Great Sun Goddess Amaterasu. This mythic paradigm was created on the existing mytho-historical foundations fostered by cultural and political contacts with the Korean kingdoms and the Chinese empire. There is evidence that the cult of the solar deity, originally portrayed as a male principle, originated in a corpus outside the Yamato mythological system. And since male-female pairs of rulers were common (first it was the gods, later the ruler and the shamaness), it is possible that at some point the distinction between the sexes was blurred and then the female side prevailed. However, the female ancestral deity does not indicate a period of matriarchy. This symbolic type of goddess, who initiates a patrimonial lineage with rare female exceptions, was created by members of a privileged group of powerful men to legitimize their own power structures. Moreover, the cult of the mother goddess is not limited to the solar principle, but is associated with weaving, silk production, and agriculture. Thus, the simple assertion that the Yamato imperial lineage descended from the goddess Amaterasu raises numerous questions and doubts, which this essay attempts to answer.

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Phillips, Carolyn. "The Kitchen God of Chinese Lore." Gastronomica 13, no. 4 (2013): 22–31. http://dx.doi.org/10.1525/gfc.2013.13.4.22.

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This article discusses the origins and mythology of China’s Kitchen God, which include the evolution of this deity over the centuries from Fire God in prehistoric times to his present role as the protector of the home. Also discussed are the many legends that surround this beloved being, as well as historical and current sources for who the Kitchen God might once have been, how he changed over the years, and how he is worshipped in modern times. Mainly ancient Chinese resources are cited in the original, with English translations in the copious endnotes. Illustrations by the author, Carolyn Phillips.

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Mahdi, Batool Mutar. "Xenotransplantation: Fact or Magic." AL-Kindy College Medical Journal 18, no. 2 (August 31, 2022): 82–83. http://dx.doi.org/10.47723/kcmj.v18i2.869.

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The knowledge of transferring body organs or tissues appears in the ancient mythology of Roman, Greek, Indian, Chinese, and Egyptian civilizations. The stories of organ transplants performed by GODs and health care’s using organs from cadaveric and after that transplantation change from lore to medical training

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De Nigris, Ornella. "Continuum Generation by Generation: The representation of Chinese traditions at the China Pavilion of the 57th Venice Biennale." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 343–66. http://dx.doi.org/10.1386/jcca_00011_1.

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Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.

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Murray, Dian H. "Ritual and Mythology of the Chinese Triads: Creating an Identity (review)." China Review International 7, no. 1 (2000): 36–45. http://dx.doi.org/10.1353/cri.2000.0039.

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Saso, Michael R. "Ritual and Mythology of the Chinese Triads: Creating an Identity (review)." China Review International 11, no. 1 (2004): 180–81. http://dx.doi.org/10.1353/cri.2005.0035.

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Judd, Ellen R. "Book Review: One-Quarter of Humanity: Malthusian Mythology and Chinese Realities." China Information 17, no. 1 (March 2003): 130–31. http://dx.doi.org/10.1177/0920203x0301700117.

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Cheuk, Michael Ka-chi. "Gao Xingjian’s Escape from Orientalism." Archiv orientální 89, no. 2 (September 30, 2021): 365–87. http://dx.doi.org/10.47979/aror.j.89.2.365-387.

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Of Mountains and Seas (1989) and Snow in August (1997) are two plays which Gao Xingjian completed in France and contain direct references to ancient Chinese cultures. With reference to Gao’s “cold” theatrical techniques of suppositionality and tripartite acting, I argue such plays not only expose the Orientalist impulses in their portrayals of Chinese mythology and Zen Buddhism but also breathe new life into these ancient Chinese traditions. By highlighting Gao’s emphasis on observation, this paper demonstrates how his “escape” from Orientalism via literature is less about the avoidance of Orientalism than the reflexive observation of Orientalism.

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Liu, Hu, and Yangtong Zheng. "The representation of “fate” in the folk mythology in Serbia and in China." Slavic Almanac, no. 1-2 (2022): 183–202. http://dx.doi.org/10.31168/2073-5731.2022.1-2.2.04.

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The study is devoted to the notions of fate in the traditional folk mythology of China and Serbia. The article analyzes the folk rites and the related terminology, the name and image of mythological characters denoting the fate of a person. Folk customs, native and funeral rites, folklore (proverbs, songs, riddles) became the material for considering the mythological image of fate. The work shows how the mythological perception of fate is reflected in the cultural code and in the linguistic image of the world. The article demonstrates how the mythological perception of fate is reflected in the linguistic images of the world of different peoples. Serbs believe that the fate of a person is given by God and other supernatural powers, in particular, the fate of a newborn child is determined by three mythological characters. In the Chinese tradition, fate is influenced by the heavenly will, the time of birth, an amulet, the lord of hell etc. In folk mythology, the soul will be reborn and will receive the fate, determined by the deeds of the person during the lifetime. The article is mainly devoted to the comparative analysis of the linguocultural meaning of fate in Chinese and Serbian mythology. The article compares the typological similarities and differences reflected in the mentality, ethnic memory, folk psychology. As a result, linguistic and extralinguistic factors have been identified that have unambiguously influenced the terminology of the perception of fate (for example, the names of mythological characters). The purpose of the study is to examine the logical-semantic and linguistic features of the appeal to the mythologeme of fate in the Chinese and the Serbian languages, in the reconstruction of folk spiritual culture.

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Journal articles on the topic 'Chinese mythology'

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