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WILMER, STEVE. "Women in Greek Tragedy Today: A Reappraisal." Theatre Research International 32, no. 2 (July 2007): 106–18. http://dx.doi.org/10.1017/s0307883307002775.
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Reacting to the concerns expressed by Sue-Ellen Case and others that Greek tragedies were written by men and for men in a patriarchal society, and that the plays are misogynistic and should be ignored by feminists, this article considers how female directors and writers have continued to exploit characters such as Antigone, Medea, Clytemnestra and Electra to make a powerful statement about contemporary society.
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Nice, David. "A happy mythologizer: Strauss's creative role in his Greek operas." Tempo, no. 210 (October 1999): 10–16. http://dx.doi.org/10.1017/s0040298200007130.
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According to David Fielding's eagerly-awaited, tender-hearted Garsington production of Die Liebe der Danae, Semele, Europa, Alkmene and Leda are ballroom queens. In the beginning, three of their four amours with that master of disguise Zeus/Jupiter bore fruit significant for the ongoing sagas of Greek and Roman mythology: Herakles from the three-night stint of Alkmene and the man she believed to be her husband, Helen of Troy and Clytemnestra out of a single egg laid by swan-seduced Leda, and Dionysus out of the ashes of over-reaching Semele, shrivelled by the sight of her god in all his majesty. The biological imperative was discarded by Hugo von Hofmannsthal – perhaps oddly for one so interested in the child-bearing outcome of his own Frau ohne Schatten myth – as he proposed a new operatic legend for Strauss in 1920. His queens (first three, later four) would be ‘bird-like, vain, forgetful, gossiping about everything’, flitting around in a Zerbinetta-like intermezzo to the main business of Jupiter's quest for Danae's love; the featherlight delicacy of the proposal was beautifully mirrored by Fielding's inspired idea. Taking up his long-deceased poet's suggestion just under two decades later, Strauss, as he neared the end of his operatic career, added a further twist. His god had grown old like himself; and on Jupiter's ever more emotional journey towards the renunciation of the woman Strauss decided would be his last love, Danae, the four close-harmony queens would move from Ariadne-style banter to tender acknowledgement of the ageing process, their apogee a canon of bitter-sweet sentimentality.
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Mossman, Judith. "Women’s Speech in Greek Tragedy: The Case of Electra and Clytemnestra in Euripides’ Electra." Classical Quarterly 51, no. 2 (December 2001): 374–84. http://dx.doi.org/10.1093/cq/51.2.374.
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Ley, Graham. "On the Pressure of Circumstance in Greek Tragedy." Ramus 15, no. 1 (January 1986): 43–51. http://dx.doi.org/10.1017/s0048671x0000343x.
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It is an unfortunate weakness of most of the standard textbooks on Greek tragedy that they fail to communicate the immediacy of pressure that is of its essence. This particular inadequacy has hardly been corrected by the recent spate of books on either staging or the visual presentation of plays, which suggest themselves now as the standard adjustment to existing handbooks for students with or without the language.One of the few certainties we have, in beginning the argument, is that tragedy is, if anything, about decisions and their consequences. This much is implied in Aristotle's intuition about hamartia, which if it means ‘mistake’ can be taken to direct attention to the circumstances which dictate a decision. Indeed, decisions are far more prominent in Attic tragedy than mistakes as such: to take two examples from the Oresteia, which as an Aeschylean trilogy should not seem so exceptional as people are inclined to make it, both Agamemnon and Orestes take decisions of terrifying consequence that can hardly be classed as ‘mistakes’ (namely to kill a daughter and to kill a mother, Iphigenia and Clytemnestra in Agamemnon and Libation Bearers respectively). In this respect, Aristotle might be taken as considering more closely the sentimental drama that flourished in his day, and in this, if we judge by his perceptions, it may well be that Oedipus the King of Sophocles in fact marks a turning-point—in the desperate futility of Oedipus' errors—which is more readily, and perhaps with less justice, ascribed to Euripides.
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Steiner, Deborah T. "Stoning and Sight: A Structural Equivalence in Greek Mythology." Classical Antiquity 14, no. 1 (April 1, 1995): 193–211. http://dx.doi.org/10.2307/25000146.
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This article examines a series of Greek myths which establish a structural equivalence between two motifs, stoning and blinding; the two penalties either substitute for one another in alternative versions of a single story, or appear in sequence as repayments in kind. After reviewing other theories concerning the motives behind blinding and lapidation, I argue that both punishments-together with petrifaction and live imprisonment, which frequently figure alongside the other motifs-are directed against individuals whose crimes generate pollution. This miasma affects not only the perpetrator of the deed, but risks spreading to the community at large, and prompts measures aimed at containing the source of the disease. Both blinding and lapidation are designed to cordon off the contaminant by removing him from all visual and tactile contact with other men. But it is not only the nature of the crimes that explains the kinship between the two penalties. I further argue that the attributes Greek thinking assigned to stones, repeatedly characterized as unseeing, mute, immobile, and dry, and symbolic of the condition of the dead, elucidate the connections and clarify the antagonism that myth suggests between lapidation and sight. Stoning, blinding, imprisonment, and petrifaction all consign the criminal to an existence exactly parallel to that of the stone, stripping him of the properties that distinguish the living from the dead, and making him both unseeing and unseen. Three examples drawn from archaic and classical literature provide examples of these interactions between stones, blindness, invisibility, and death: the snake portent sent by Zeus in Book 2 of the Iliad, the Perseus myth, and Hermes' activity in both the Homeric Hymn to Hermes and Aeschylus' Choephoroe.
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Jovanovic, Bojan. "Čajkanović's road from ancient Greek and folk literature to Serbian religion and mythology." Glasnik Etnografskog instituta 56, no. 1 (2008): 37–51. http://dx.doi.org/10.2298/gei0801037j.
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Evangelopoulou, Olympia, and Stelios Xinogalos. "MYTH TROUBLES: An Open-Source Educational Game in Scratch for Greek Mythology." Simulation & Gaming 49, no. 1 (December 26, 2017): 71–91. http://dx.doi.org/10.1177/1046878117748175.
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Background. Educational games are nowadays used for facilitating the teaching and learning process of various subjects. History is one of the subjects that simulations and games are used for promoting active learning and supporting students in comprehending various history-related subjects. Aim. This article reports on a new educational game on Greek mythology, called MYTH TROUBLES, designed and developed from scratch with the aim of supporting primary school students in studying Greek mythology and raising their interest on the subject of history. Method. The article presents the educational rationale and design of MYTH TROUBLES in the context of an educational games design model proposed in the literature. Since the game was implemented with the platform of Scratch and it is available online both for students (or anyone interested in Greek Mythology) and game developers, some information for its implementation is also provided. The results of a pilot evaluation of MYTH TROUBLES with the help of 21 experienced school teachers are presented, along with proposals for improvement and extension of the game. Results. Teachers evaluated positively MYTH TROUBLES in terms of acceptability, usability, utility as an educational tool, as well as its interface and game play and expressed their willingness to use it in the classroom. Conclusions. MYTH TROUBLES is considered appropriate by teachers for supporting the teaching and learning of Greek mythology and assessing its educational value in class is the next step. Scratch is appropriate for implementing such educational games and sharing them with interested players and game developers.
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Szymańska, Katarzyna. "Geneza mitu superbohatera. Różne oblicza (super)bohaterów w kinematografii, literaturze, Internecie." Kultura Popularna 3, no. 49 (March 31, 2017): 6–13. http://dx.doi.org/10.5604/01.3001.0009.8040.
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The article shows how hero as myth has become a popculture icon. In literature new model of ancient Greece hero represents Percy Jackson from Rick Riordan’s books about Olympians. Movie based on this novel shows how Greek mythology is popular. One of actors who played in this adaptation, Nathan Fillion, played also a hero a few times. These movies brought modern and different kind of superhero, for instance Joss Whedon’s Dr. Horrible Song-Along Blog (2008) or James Gunn’s Super (2010), which is similar to Matthew Vaughn’s Kick-Ass (also 2010). A new hero is now an average person and proves that courage is more important than extrapowers. Blockbuster movies are popular on the net, where photos from scenes become memes. Greek mythology is still present in daily life in new, modern formula.
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Buxton, Richard. "Imaginary Greek mountains." Journal of Hellenic Studies 112 (November 1992): 1–15. http://dx.doi.org/10.2307/632149.
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It is hardly controversial to assert that recent work on Greek mythology is methodologically diverse. However, there is one body of writing which seems to have become a reference point against which scholars of many persuasions–not excluding orthodox positivist philologists and adherents of psychoanalysis–feel the need to define their own position. I mean structuralism. G.S. Kirk and, later, W. Burkert have conducted their dialogues with it; C. Segal and more unreconstructedly R. Caldwell have tried to accommodate Lévi-Strauss and Freud under the same blanket; a glance at bibliographical citations in studies of tragedy over the last twenty years will show how J.-P. Vernant and P. Vidal-Naquet have moved from the periphery to the centre (much as Finley did some time ago in ancient history). The polemical attitudes being struck by M. Detienne (from within the movement) and C. Calame are directly generated by over-confident structuralist attempts to map out the mental territory they claimed as their own.
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Kim, Suh-Yoon. "Greek Mythology as Children’s Literature - Centered on Picture Books of Echo Myth Adapted for Children -." Korean Literature Education Research 67 (June 30, 2020): 35–67. http://dx.doi.org/10.37192/kler.67.2.
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Klauck, H.-J. "Accuser, Judge and Paraclete - On conscience in Philo of Alexandria." Verbum et Ecclesia 20, no. 1 (August 6, 1999): 107–18. http://dx.doi.org/10.4102/ve.v20i1.1169.
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Of all known ancient authors writing in Greek, Philo of Alexandria is the one and related terms and concepts (the apostle Paul comes next, more or less). Something similar may only be found in Latin authors speaking of conscientia, like Cicero. This needs an explanation. After discussing some relevant passages from Philo's writings, with special stress on the texts from scriptures exposed by him, analogies in wisdom literature and in Graeco-Roman rhetoric and mythology are indicated. The following solution is proposed: Philo combines the punishing Furies (cf Cicero) and the benevolent guardian spirit (c. Seneca) of Graeco-Roman mythology and philosophy with the personified reproof from Jewish Wisdom literature, and so he creates a concept that helps him to give a visual description of the strict but nevertheless kind guidance God practices on man.
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Mostafa Hussein, Wafaa A. "Freedom as the Antithesis of Commitment in Jean-Paul Sartre’s The Flies (Les Mouches)." International Journal of Linguistics, Literature and Culture 8, no. 2 (June 30, 2021): 1–17. http://dx.doi.org/10.19044/llc.v8no2a1.
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In the mid of the twentieth century, French Existentialism was a predominant doctrine that significantly enriched and influenced the literary scene in Europe during the Post-War area. Jean-Paul Sartre (1905-1980), the founder of Existentialism, is both a professional philosopher and a talented man of letters whose literary achievements represent a declarative embodiment of his Existentialist philosophy. In his 1943 drama, The Flies (Les Mouches), Sartre puts the Greek myth into a drastically innovative structure, where contemporary issues and values are presented through classical outlines. The current study aims to present a critical analysis of Sartre's depiction of the Electra/Orestes myth in The Flies through demonstrating how Greek mythology becomes an essential substructure of the play's Existentialistic framework, on the one hand, and questioning the credibility of the Sartrean concept of freedom and commitment, as illustrated in the play, on the other hand. The study utilizes the Existentialist philosophy as a theoretical framework in order to elucidate that the Sartrean conception of freedom and commitment is paradoxically antithetical. The research investigates how Orestes has been theoretically free and the extent to which he strives, throughout the drama, to transform this abstract freedom into a concrete experience by committing himself to a specific action: murdering Aegisthus and Clytemnestra. However, as the study proves, this Existentialist freedom becomes an illusion in the sense that Orestes' commitment to the Argives makes him a captive of society; by choosing commitment, he dismisses his freedom. The researcher has chosen "Freedom" and "Commitment" as the main topic of the present study in order to expose Sartre's existentialistic awareness of modern human beings' dilemma under the influence of all forms of aggression and highlight the discrepancy between theoretical philosophy and real-life experiences. The study adopts an interdisciplinary analytical approach where myth, philosophy, and drama are dovetailed and fused in order to expand the scope of the analysis.
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Rodziewicz, Artur. "Tawus Protogonos: Parallels between the Yezidi Theology and Some Ancient Greek Cosmogonies." IRAN and the CAUCASUS 18, no. 1 (2014): 27–45. http://dx.doi.org/10.1163/1573384x-20140103.
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The paper concerns some crucial issues of theology and cosmogony of the Yezidis, which have distinct parallels in the writings of the ancient Greeks. A startling coincidence of certain topics and the manner of approach can lead to the conclusion that the Yezidi theology and mythology seem to have a distant genetic relationship with the Greek theology, or―which is also possible―we are dealing with distinct independent inscriptions of the same ideas, meaning here the highest factors governing the world. The paper also contains references to similar topics in the literature of Early Christianity and Gnosticism.
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Halchuk, O. "Woman-character and woman-author in ancient Greek and Roman literature: an attempt at the typology." Science and Education a New Dimension IX(253), no. 45 (June 25, 2021): 20–24. http://dx.doi.org/10.31174/send-hs2021-253ix45-05.
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The article proposes a typology of female characters of ancient literature. The typology is based on the dominant categories of «moral» (expressed by the dichotomy of «moral – immoral»), «heroic» («achievement – offence») and «aesthetic» («beautiful – ugly»). Through the prism of mythology, the semantics of the figurative gallery «woman-character» and «woman-author» reflects the specifics of the position of women in the ancient world. Misogyny is typical for the male world of antiquity. This determined the emphasis in the interpretation of women's masks, which were mainly given the role of the object of erotic posing. This, however, does not diminish the reception potential of female images of ancient origin in the subsequent world literary discourse.
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안영옥. "A Study on Acceptance of Greek Mythology in the Spanish Literature: Focused on the Character of Ulysses." Korean Journal of Hispanic Studies 12, no. 2 (November 2019): 103–26. http://dx.doi.org/10.18217/kjhs.12.2.201911.103.
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BÉRARD, STÉPHANIE. "From the Greek Stage to the Martinican Shores: A Caribbean Antigone." Theatre Research International 33, no. 1 (March 2008): 40–51. http://dx.doi.org/10.1017/s0307883307003380.
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In his first play, Une Manière d'Antigone (1975), Patrick Chamoiseau brings together Greek mythology and the history of Martinique. This article compares this version with the Sophoclean version, considering the transformations made by the Martinican playwright in terms of time and space, plot, characters and language so as to determine how different or similar the Caribbean Antigone is from her Greek sister. By adapting a famous Greek myth on the Antillean stage, Chamoiseau realizes a literary transposition while reaffirming his strong political opposition towards France. This play inscribes itself in the vast movement of subversion and contestation of the classic literary tradition by postcolonial writers who create their own literature based on the adaptation of Western classics. Chamoiseau's rewriting of the Antigone myth allows for a reappropriation and a revalorization of a forgotten history. Additionally, it presents an assertion of resistance and a plea for emancipation from both literary and political domination.
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Bashir, Burhan. "Insanity or Inspiration: A Study of Greek and Arab Thoughts on Poetry." Arab World English Journal For Translation and Literary Studies 5, no. 2 (May 15, 2021): 115–25. http://dx.doi.org/10.24093/awejtls/vol5no2.9.
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The nexus between poetry, insanity, and inspiration is peculiar and can be traced back to earlier centuries. There are many examples in Greek and Arab literature where poetry is believed to have connections with divinity, possession, or even madness. The paper will try to show what Greeks and Arabs thought about the origin and the creation of poetry. It will attempt to show how early mythology and legends of both assign a supernatural or abnormal source to poetry. References from these two cultures will show the similarity in some theories like that of muses and supernatural beings, helping the poet achieve his goal. In order to show the similarity, many Greek and Arab philosophers/poets shall be referred to in the discussion. The methodology used shall be descriptive and analytical in nature.
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Shalaghinov, Borys. "On History of Romantic Overturn in Modernist Mythology." Академічний журнал "Слово і Час", no. 5 (May 29, 2019): 29–40. http://dx.doi.org/10.33608/0236-1477.2019.05.29-40.
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The paper deals with a Greek myth adopted by modern scholars, which is hypothetically treated not as an authentic picture of antiquity, but philosophical construct, developed by early German romantics on the basis of Kantian discourse. The myth-narration was understood as a way of mental transformation of the hostile environment (embodied by the rite of human sacrifice) in terms of its humanization, aesthetization, heroization, intellectualization; the purpose of individual existence was interpreted as a unity of nature, society and the person, immersion in the ‘myth-environment’ being a condition for such unity. A further evolution of the myth took place due to civilizational shifts in Europe, which ‘fragmented’ human unity and destroyed the original unity of mythology. The modernist myth (Joyce, Messiaen, Bachelard) gave place to deintellectualization, particularization and desocialization of public life that urged to turn towards the blind nature ‘before civilization’ and stimulated indifference about the last preceding stages of culture. The life force was understood as returning to pure instinct that indicates the presence of nature in man. The distinction between sophisticated connoisseurs of culture and the bourgeois ‘mass’ became especially sharp; the ‘myth’ got really destructed by transferring it from actual life to the setting of everyday comfort, bypassing the spiritual state of the individual. The ‘myth of intertextuality’ (book myth, new-Alexandrian myth) is characteristic of the period of decline, as it is oriented not towards a living person and ‘life force’, but towards narration. This tendency was most vividly reflected in N. Frye’s mythological theory (about literature as myth-making).
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MANSUR, NACIME SALOMÃO BARBACHAN, and MARCEL JUN SUGAWARA TAMAOKI. "ACHILES: AN IMORTAL EPONYMOUS." Acta Ortopédica Brasileira 28, no. 6 (December 2020): 316–17. http://dx.doi.org/10.1590/1413-785220202806237097.
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ABSTRACT The conditions affecting the calcaneal tendon remain extremely prevalent in the clinical practice. The search for information about these diseases in national and international scientific databases are commonly hampered in the use of search tools, requiring the use if an eponym in the strategy. Achilles, in reference to the hero of the Greek mythology, is often used by several authors in scientific publications despite the new Nomina Anatomica. Objective: This article intends to recover the history behind the use of this term, which heroically resists in the clinical discussions of everyday life in articles and textbooks. Level of Evidence V, Literature Review.
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Goldhill, Simon. "The Roots of Greek Culture - Gregory Nagy: Greek Mythology and Poetics. (Myth and Poetics.) Pp. xi + 363. Ithaca and London: Cornell University Press, 1990. $35." Classical Review 41, no. 1 (April 1991): 87–89. http://dx.doi.org/10.1017/s0009840x0027738x.
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안영옥. "A Study on Acceptance of Greek Mythology in the Spanish Literature 1: Focused on Poems of Spanish Golden Age." Korean Journal of Hispanic Studies 11, no. 1 (May 2018): 47–83. http://dx.doi.org/10.18217/kjhs.11.1.201805.47.
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Michaelis, K. "A critical analysis of Pier Paolo Pasolini’s African Oresteia." Literator 17, no. 2 (April 30, 1996): 79–90. http://dx.doi.org/10.4102/lit.v17i2.604.
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Pasolini's Appunti per un’Orestiade africana (1970) is a metaphorical film, inspired by the Greek legend of Orestes, in which Pasolini views postcolonial African history through the lens of mythology. His portrait of the birth of “modern” Africa is an attempt to narrate the passage from past to present and to salvage "prehistory" through his dream of the unification of the rational, democratic state and the irrational, primal slate of being. It is, however, a dream punctuated by contradictions and paradoxes, a dream which Pasolini will later abandon. Yet it is significant in the overall development of Pasolini's genre.
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Deacy, Susan. "Greek Mythology - (R.D.) Woodard (ed.) The Cambridge Companion to Greek Mythology. Pp. xvi + 536, pls. New York: Cambridge University Press, 2007. Paper, £18.99, US$29.99 (Cased, £50, US$90). ISBN: 978-0-521-60726-1 (978-0-521-84520-5 hbk)." Classical Review 59, no. 2 (September 15, 2009): 602–3. http://dx.doi.org/10.1017/s0009840x09001310.
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Young, Frances. "Naked or Clothed? Eschatology and the Doctrine of Creation." Studies in Church History 45 (2009): 1–19. http://dx.doi.org/10.1017/s0424208400002370.
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A Paper on life after death in the early church should probably begin with the underworld: Sheol in the Hebrew Bible, Hades, in Greek mythology, with parallels in ancient Mesopotamia, Egypt and Persia. It should reflect on the universally connected theme of judgment and its importance for theodicy, and address the wide variety of beliefs discernible in the New Testament and its background, especially in the apocalyptic literature. It should consider the so-called intermediate state, and the supposed distinction between the Greek concept of the immortality of the soul and the Hebrew idea of resurrection: which takes us full circle, since the latter notion assumes the picture of shades in the underworld brought back to full-bodied living – as indeed the traditional Anastasis icon of the Eastern Orthodox tradition makes dramatically clear, Christ springing up from the grave and hauling Adam up with one hand and, often though not invariably, Eve with the other.
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Nischik, Reingard M. "Myth and Intersections of Myth and Gender in Canadian Culture: Margaret Atwood’s Revision of the Odyssey in The Penelopiad." Zeitschrift für Anglistik und Amerikanistik 68, no. 3 (November 26, 2020): 251–72. http://dx.doi.org/10.1515/zaa-2020-2003.
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AbstractThe first part of the article deals with the national myths of Canada. It demonstrates that the long-time supposed lack of myths in Canada may itself be regarded as a myth. After presenting useful meanings of the term myth, the intersections of myth/mythology and gender are considered, both in Canadian culture and in Greek mythology. Linking Homer’s Iliad and Odyssey—the canonized beginnings of Western literature and their foundation on ancient myth—with Canadian culture, Margaret Atwood’s works and their treatment of ancient and social myths are then focussed on, particularly her revisionist rewriting of Homer’s Odyssey in her novel The Penelopiad (2005). This women-centered rewriting of the originally male-dominated story starts from two issues: what led to the hanging of the 12 maids, and what was Penelope really up to? Among the results are an intriguing re-conception of the original main characters, an upgrading of female domestic life, and a debunking not only of Odysseus and his supposedly heroic deeds but also of the authority of ancient myths where precarious not least concerning their conception of gender and gender relations.
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Koutsoyiannis, Demetris, and Nikos Mamassis. "From mythology to science: the development of scientific hydrological concepts in Greek antiquity and its relevance to modern hydrology." Hydrology and Earth System Sciences 25, no. 5 (May 10, 2021): 2419–44. http://dx.doi.org/10.5194/hess-25-2419-2021.
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Abstract. Whilst hydrology is a Greek term, it was not in use in the Classical literature, but much later, during the Renaissance, in its Latin form, hydrologia. On the other hand, Greek natural philosophers (or, in modern vocabulary, scientists) created robust knowledge in related scientific areas, to which they gave names such as meteorology, climate and hydraulics. These terms are now in common use internationally. Greek natural philosophers laid the foundation for hydrological concepts and the hydrological cycle in its entirety. Knowledge development was brought about by searches for technological solutions to practical problems as well as by scientific curiosity. While initial explanations belong to the sphere of mythology, the rise of philosophy was accompanied by the quest for scientific descriptions of the phenomena. It appears that the first geophysical problem formulated in scientific terms was the explanation of the flood regime of the Nile, then regarded as a paradox because of the spectacular difference from the river flow regime in Greece, i.e. the fact that the Nile flooding occurs in summer when in most of the Mediterranean the rainfall is very low. While the early attempts were unsuccessful, Aristotle was able to formulate a correct hypothesis, which he tested through what appears to be the first scientific expedition in history, in the transition from the Classical to Hellenistic periods. The Hellenistic period brought advances in all scientific fields including hydrology, an example of which is the definition and measurement of flow discharge by Heron of Alexandria. These confirm the fact that the hydrological cycle was well understood in Ancient Greece, yet it poses the question why correct explanations were not accepted and, instead, why ancient and modern mythical views were preferred up to the 18th century.
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Hamad, Mohammad. "Symbolism of Water in Classic and Modern Arabic Literature." International Journal of Language and Literary Studies 2, no. 4 (December 26, 2020): 258–65. http://dx.doi.org/10.36892/ijlls.v2i4.367.
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Water in Arabic literature has literal and symbolic meanings. Water is one of the four elements in Greek mythology; life would be impossible without water and it is a synonym for life; life originated in water. Springs, wells, rain, seas, snow, and swamps are all associated with water. Each form of water may take on a different manifestation of the original from which it comes about. Arabic literature employs the element of water in poetry, the short story, and the novel. We find it in titles of poems: Unshudat al-matar (Hymn of the Rain) and Waj’ al-ma’ (The Pain of Water); and novels: Dhakirat al-ma’ (The Memory of Water); Taht al-matar (Under the Rain); Matar huzayran (June Rain); Al-Bahr khalf al-sata’ir (The Seas Behind the Curtains); Rahil al-bahr (Departure of the Sea); and many others. This study aims to answer the following questions: How does the element of water manifest in Arabic literature? What are the semantics and symbolism of the different forms of water in the literary imaginary? The study refers to six different significations for water in classical and modern Arabic literature: water as synonymous with life, purity and the revelation of truth, separation and death, fertility and sex, land and homeland, and talent and creativity.
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Tyupa, Valery I. "The Pivotal Narratological Category in Historical Perspective." Studia Litterarum 6, no. 1 (2021): 10–31. http://dx.doi.org/10.22455/2500-4247-2021-6-1-10-31.
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The article examines narrative strategies in their historical dynamics. It singles out the so-called narrative worldview and the ethos of narrativity as basic parameters of a narrative strategy. Heroic legends and fairy tales inherited a precedent worldview and the ethos of peace from mythology. The post-mythological development of religious consciousness leads to a narrative strategy of the parable type that implies an imperative world model and prescriptive ethos, as implemented, for example, in the Old Testament. The narrative strategy of the New Testament stands out due to the constructive combination of the precedent worldview and a fundamentally new ethos of personal solidarity. The practice of telling jokes and ancient Greek adventure novels develop a circumstantial world model and the ethos of self-realization. Finally, the classic novel explores the probabilistic worldview and becomes a basis of several new narrative strategies that vary in their ethos.
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Quigley, Narda R., Catherine G. Collins, Cristina B. Gibson, and Sharon K. Parker. "Team Performance Archetypes: Toward a New Conceptualization of Team Performance Over Time." Group & Organization Management 43, no. 5 (August 16, 2018): 787–824. http://dx.doi.org/10.1177/1059601118794344.
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We examine the concept of team performance and propose a framework to understand patterns of change over time. Following a literature review on team performance (focusing on empirical articles published between 2007 and 2017) and drawing on Greek and Roman mythology, we identify five team performance trajectories: “Jupiter” (consistently high performing), “Neptune” (relatively steady, average performance), “Pluto” (low performing), “Icarus” (initially high performing, with a downward spiral), and “Odysseus” (initially low to midrange performing, with an upward spiral), which we refer to as “team performance archetypes.” We discuss how they might be used in conjunction with growth modeling methodology to help facilitate theory building and data collection/analysis with respect to team performance. In addition, we discuss the future research implications associated with using the archetypes to help conceptualize patterns of team performance over time.
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Stelnik, Evgeny V. "From Ideology to Methodology: The Term “Charon’s Obol” in Modern Archaeological Discourse." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 2 (2021): 75–85. http://dx.doi.org/10.15826/izv2.2021.23.2.026.
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This article deals with the paradoxical situation associated with the use of the term “Charon’s obol” in modern archaeological discourse. The term “Charon’s obol” turned into an unspoken normative historiographical rule and an “indisputable” explanatory model. At the same time, the term itself is essentially “empty”, and does not need to be argued, being the evidence arising from the “natural” logic of archaeological research. Archaeological discourse turns the discovery of “Charon’s obol” into a “natural” inevitability. Almost any coin (of any material and value) of ancient and early Middle Ages found in Europe, Scandinavia, the Far East, or Central Asia, is usually declared “Charon’s obol” by researchers. Surprisingly, the further the region is located from the ancient Greek poleis, the more coins dedicated to Charon archaeologists find. Moreover, in historiography, Charon has become an unambiguous symbol not only of ancient Greek book mythology, but also of the entire ancient Greek culture. The paradox of the situation is that Charon, the ideas of the researchers about whom constitute the content of the term, did not need coins, and the “ancient Greek funeral rite” which the authors appeal to as a model of “payment to Charon” did not imply any payments to Charon. The term is a result of uncritical reading of ancient classical literature. The term “Charon’s obol” cannot be filled with content, but is an artificial ideological construction related to the research tradition based on the ideas of European Romanticism (concepts of I. I. Winkelman and I. V. Goethe).
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Zavyalova, G. A. "THE SOURCES OF PRECEDENTIALITY IN DETECTIVE DISCOURSE." Bulletin of Kemerovo State University, no. 2 (June 29, 2017): 195–99. http://dx.doi.org/10.21603/2078-8975-2017-2-195-199.
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The article takes cognitive approach to precedent phenomena studies. The sources of precedentiality in detective discourse are Greek and Roman mythology, the Bible, folklore texts, Shakespeare’s texts and classical European literature. In the analyzed texts universal-precedent and national-precedent phenomena of all the types are presented. Precedent names actualize precedent situations or act as namessymbols, precedent utterances appeal to precedent texts as reference standards. The analyzed material lets us deduce that incorporating Shakespearean, biblical and mythological topics, characters and images into detective texts is determined by authors’ intention to improve the status of their works as well as by universality of these topics and their criminal nature. Analyzing the sources of precedentiality within the cognitive approach may be of interest for studying transformations that take place within the genres based on the system-forming concepts.
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Hovhannisyan, Gayane R. "The time of human thoughts and deeds." Cognitive Linguistic Studies 5, no. 2 (December 31, 2018): 410–25. http://dx.doi.org/10.1075/cogls.00027.hov.
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Abstract A mysterious part of our physical and psychological models of the world is Time. Its cognitive representation has evolved from Mythology through Literature to Physics. In ancient times, it was Kala of the Indo-Europeans, Chronos of the Greek gods, and the Kirke of Odyssey whose world could make heroes forget about anything. Then came Renaissance, the gradual awakening of the Time of Soul, the swing of philosophical mind between material and ideal worlds, its acceleration to the Relativity of Einstein, and the recent collapse on the Quantum Theory and to new biocentric passages. Shakespeare’s world of human mind and characters is so diverse and opulent, that anyone can find and emulate natural and supernatural phenomena in it, getting food for philosophical, psychological contemplation and even ideas for quantum-physical speculations. The truth is that Time molds the world of matter with the subjective world of human dreams and deeds.
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Clark, Christina A. "Woodard, R.D. (ed.) 2007. The Cambridge Companion to Greek Mythology (Cambridge Companions to Literature). Cambridge, Cambridge University Press. xvi, 536 p. Pr. £18.99 (pb)." Mnemosyne 63, no. 1 (2010): 155–58. http://dx.doi.org/10.1163/002670710x12603307970874.
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Mihály, Vilma. "Europe’s Fe/Male Identity." Acta Universitatis Sapientiae, Philologica 5, no. 1 (July 1, 2013): 33–41. http://dx.doi.org/10.2478/ausp-2014-0003.
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Abstract The following study discusses Europe’s identity focussing upon questions such as how Europa’s destiny-the next of kin from Greek mythology-has influenced that of the continent, the relationship between Europe and its nations or Europe’s role in the world. According to French anthropologist Annick de Souzenelle. there is a lunar, that is female and a solar, that is a male side to both Europa and Europe but whereas the mythical figure failed to find and integrate the opposite within herself, Europe does still have the opportunity to discover its solar aspects and reach unity within itself and the world as a whole. Apart from the theory the present paper also tries to give examples from different fields of study such as politics, philosophy and literature, which shall underline Europe’s fe/male identity and role. e. g. Winston Churchill's Iron Curtain Speech. Jose Ortega y Gasset’s Meditation on Europe. Sándor Márai’s Europe’s Abduction or Czeszlaw Milosz’s Native Realm.
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Budin, Stephanie Lynn. "Erotic Mythology - (B.) Breitenberger Aphrodite and Eros. The Development of Erotic Mythology in Early Greek Poetry and Cult. Pp. x + 296, ills. New York and Abingdon: Routledge, 2007. Cased, £65, US$100. ISBN: 978-0-415-96823-2." Classical Review 59, no. 2 (September 15, 2009): 338–40. http://dx.doi.org/10.1017/s0009840x09000067.
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Ermolaeva, Nina L. "From the ancient Greek myth to the Russian literary archetypes in I.A. Goncharov’s novels." Literature at School, no. 5, 2020 (2020): 35–50. http://dx.doi.org/10.31862/0130-3414-2020-5-35-50.
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The article deals with the mythological sub-text as one of the connective means in the novel trilogy by Goncharov. The author of the article assumes that the creative thinking of Goncharov’s is epic and his understanding of world literary types can be seen as the basis for the theory of literary archetypes. The novelty of the approach to the sources is justified by the aim of the article, the latter being to show the reflection of the evolution of the author’s mythological thinking in his creating the literary archetypes by using various mythological and folk sources. Analysis of the mythological sub-text in the novel “A Common Story” allows to say that the author applied mainly the European tradition of the ancient myths, namely the myth of Oedipus to the modern life in Russia. Viewing “Frigate ‘Pallada’ ” the author of the article concludes that Goncharov returned from the world-wide journey “more Russian” than he had been before. Thus in the novels “Oblomov” and “The Precipice” he used not only the European cultural tradition but also the Slavonic mythology and Russian folklore. The result of his turning to the fairy-tale and Russian literature was the appearance of the archetype images of Oblomov and oblomovism and that of gown in his creative work. “The bylina sub-text” in the novel “The Precipice” helps to understand the rivalry of the atheist Mark Volokhov with the proponent of “the old truth” Tushin as the fight of the Russian epic hero with the serpent. The analysis of Goncharov’s articles of 1870s allows one to see his wish to create the archetype images of the characters from the Russian life. Arguing with A.I. Zhuravleva’s opinion that Goncharov did not manage to fulfill this task in “The Precipice”, the author of the article proves that the image of grandmother has come into the national consciousness as an archetype. It has direct connection with the archetype of the village that came into being in the Russian literature of XIX–XX centuries.
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Mitevski, Vitomir. "The Influence of Ancient Greek Culture on Macedonian Literature of the 19th Century." Colloquia Humanistica, no. 1 (July 22, 2015): 19–31. http://dx.doi.org/10.11649/ch.2012.002.
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The Influence of Ancient Greek Culture on Macedonian Literature of the 19th CenturyIn Macedonia under the Ottoman rule during the nineteenth century, the Macedonian people-the nation is subject to political pressure and the cultural influence of Turkey and other countries. Under the influence of propaganda leading by Athens and education politics in the area of contemporary Republic of Macedonia, some Macedonian militant intellectuals embraced, at the same time, were influenced by romanticism and the Old-Greek culture, which strongly affect their literary works. In this context, two authors are viewed as the most significant-Jordan Hadji Murad Konstantinov Džinot and Grigor Prlichev. Džinot is the author of dramatized dialogue inspired by the classic Greek mythology, at the school, where he is a teacher. On the pages of the press he announces the publication of its ancient-themed dramas, however, for unknown reasons, none of them does not appear in print. Prlichev well knew the Old-Greek and is an admirer of the works of Homer. Influenced by the poetry of Homer writes in an epic poem in the archaized Greek. Wpływ starogreckiej kultury na literaturę macedońską w XIX wiekuW ramach imperium osmańskiego, którego częścią jest Macedonia w ciągu XIX wieku, macedoński lud-naród podlega politycznej presji i wpływom kulturowym ze strony Turcji i innych państw. Pod wpływem propagandy, którą prowadzą Ateny i która wyraża się m.in. w zakładaniu swoich szkół w Macedonii, niektórzy macedońscy intelektualiści, ogarnięci w tym samym czasie wpływami romantyzmu poznają kulturę starogrecką, co silnie wpłynie na ich twórczość literacką. W tym kontekście wybijają się dwie najbardziej znaczące postaci – Jordan Hadži Konstantinov-Džinot i Grigor Prličev. Džinot jest autorem dramatyzowanych dialogów inspirowanych klasyczną, starogrecką mitologią, wystawianych w szkole, w której sam jest nauczycielem. Na łamach prasy zapowiada publikację swoich dramatów o tematyce antycznej, jednak z niewiadomych przyczyn żaden z nich nie pojawia się w druku. Prličev dobrze zna starogrecki i jest znawcą twórczości Homera. Pod wpływem poezji Homera pisze w archaizowanym języku greckim poemat epicki zatytułowany ‛Ο 'Aρματωλός (w macedońskim przekładzie Сердарот albo Мартолозот), który przynosi mu zwycięstwo w konkursie poetyckim w Atenach w 1860 roku. Jego drugie dzieło epickie zatytułowane Σκενδέρμπεης jest napisane także w duchu poezji Homera, głównie jeśli chodzi o styl (epitety i porównania) i kompozycję (opracowanie typowych dla eposu motywów tematycznych). Obydwaj są także tłumaczami, Džinot zapowiada w prasie przekład Antygony Sofoklesa, o losach przekładu nic nam nie wiadomo, a Prličev dokonuje poetyckiego przekładu Iliady Homera na wymyślony przez siebie język, który jest w istocie mieszanką języków słowiańskich, a sam autor nazywa go "ogólnosłowiańskim". Влијанието на старогрчката култура врз македонската литература во XIX–иот векВо рамките на Турската Империја од која Македонија е дел во текот на 19-иот, македонскиот народ е изложен на политичка пресија и културното влијание и на Турција и на некои соседни држави. Под влијание на пропагандата на владата во Атина која отвора свои школи во Македонија, а во исто време и зафатени од бранот на романтизам, некои македонски интелектуалци се запознаваат со старогрчката култура што ќе остави силен печат врз нивното литературно творештво. Во тој поглед се издвојуваат две најзначајни имиња – Јордан Хаџи Константинов Џинот и Григор Прличев.Џинот се јавува со драмски дијалози инспирирани од класичната старогрчка митологија кои се изведуваат на приредбите во школите во кои тој е учител, а во печатот најавува објавување на свои драми со античка тематика кои, од непознати причини, не се појавиле.Прличев е добро образован во старогрчкиот јазик и особено добар познавач на Хомер. Под влијание на хомерската поезија, тој пишува на еден архаизиран грчки јазик епска поема под наслов ‛Ο ’Aρματωλός (во македонски превод Серадот или Мартолозот) и со неа победува на поетскиот конкурс во Атина 1860 година.Второто негово епско дело под наслов Σκενδέρμπεης исто така е напишано во духот на хомерската поезија и тоа се гледа главно во областа на стилот (епитети и споредби) и во композицијата (обработка на типични епски теми). На преведувачки план, Џинот најавува во печатот превод на трагедијата Антигона од Софокле, дело чија судбина исто така не ни е позната, а Прличев пишува препев на Хомеровата Илијада на еден посебен јазик кој претставува смеса од словенските јазици, а самиот автор го нарекува „општословенски“.
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Hobden, Fiona. "COMPANION TO GREEK MYTH - K. Dowden, N. Livingstone (edd.) A Companion to Greek Mythology. Pp. xxviii + 643, ills, maps. Malden, MA and Oxford: Wiley–Blackwell, 2011. Cased, £120, €144, US$199.95. ISBN: 978-1-4051-1178-2." Classical Review 63, no. 2 (September 12, 2013): 587–89. http://dx.doi.org/10.1017/s0009840x13001339.
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Kearns, Emily. "Greek Myths - R. Buxton: Imaginary Greece: The Contexts of Mythology. Pp. xvi+250, frontispiece+20 plates in text. Cambridge: Cambridge University Press, 1994. £35/$59.95 (Paper, £12.95/$ 18.95)." Classical Review 45, no. 2 (October 1995): 300–301. http://dx.doi.org/10.1017/s0009840x00293876.
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Brown, Charlotte. "E. WÅGHÄLL NIVRE (ed.) Allusions and Reflections: Greek and Roman Mythology in Renaissance Europe. Newcastle upon Tyne: Cambridge Scholars Publishing, 2015. Pp. 498. £57.99. 9781443874540." Journal of Hellenic Studies 140 (November 2020): 295–96. http://dx.doi.org/10.1017/s007542692000066x.
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Buchanan, Sophie. "Representing Medea on Roman Sarcophagi: Contemplating a Paradox." Ramus 41, no. 1-2 (2012): 144–60. http://dx.doi.org/10.1017/s0048671x00000291.
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It is one thing to find Medea compelling, another to make her art, let alone funerary art. This article faces this complexity head on by examining Medea's visual identity within a sepulchral context. It interrogates her presence on Roman sarcophagi of the mid to late second century CE. The corpus is not insubstantial—nine intact relief panels plus further fragmentary pieces offer ample testament to Medea's presence in the funerary context. Beyond this sphere, Medea's emotionally charged legacy needs no introduction, and her characterisation—outsider, avenger, semi-divine sorceress, victim and murderer—is fleshed out by her capacity to fascinate and repel. Modern scholarship fans the flames, as she remains a popular subject for scholars of Latin and Greek literature, mythology and gender studies.In contrast, Medea's visual sphere of interest has attracted less in-depth attention. Recent studies have acknowledged the implications of her presence on pots and in freestanding sculpture, and most notably, wall painting is beginning to receive careful treatment. Yet art-historians have been more reluctant to confront Medea within the enclosed and predisposed funerary context. Traditional approaches to mythological sarcophagi more generally have favoured consolado as the dominant mode of commemoration, in which empathy and pothos are paramount and protagonists like Adonis and Endymion seen as positive exempla worthy of analogy and assimilation. The deceased is elevated by association with these figures (an association which is often underlined by the use of a portrait head) and the bereaved reassured by the implied interaction of mundane and heroic, mortal and divine. In this way, desire becomes a gloss for grief and loss is translated as yearning.
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Pratt, Jonathan. "K. Dowden and N. Livingstone Eds.A Companion to Greek Mythology (Blackwell Companions to the Ancient World). Chichester: Wiley-Blackwell, 2011. Pp. xxvii + 643, illus. £110. 9781405111782." Journal of Hellenic Studies 133 (2013): 212–13. http://dx.doi.org/10.1017/s0075426913000554.
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Chasanah, Ida Nurul. "Migrasi simbolik wacana kuasa tubuh: menguak wacana tubuh dalam Ode untuk Leopold Von Sacher-Masoch karya Dinar Rahayu." Masyarakat, Kebudayaan dan Politik 27, no. 4 (October 1, 2014): 184. http://dx.doi.org/10.20473/mkp.v27i42014.184-194.
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The presence of Indonesian women writers with the dominant discourse of the power of body, presenting the pros and cons that would not go over. Female body is the language of women that can be poured through the writing of literary works. Helene Cixous brought the spirit of "writing the body" to motivate women authors to express himself through written discourse, which so far has been dominated by men. Cixous spirit is also promoted by Dinar Rahayu appear in the novel Ode untuk Leopold Von Sacher-Masoch. Dinar Rahayu voicing complexity of urban women's voices in this novel through several migration symbolic of the power of the female body. Migration is enriched by the presence of symbolic power in a sound body of Greek and Scandinavian mythology and Leopold voices in his work Venus in Furs. Through in-depth reading on the symbolic migration brought to the Ode untuk Leopold Von Sacher-Masoch through the voices of the characters and the particularities of naration techniques can be seen that this novel (as well as other sexist novels) is not merely a commodity that exploit sexuality pornography but rather an attempt to author urban female voices will be the "body power". This study uses content analysis method that begins with the reading of literature, heuristic and hermeneutic, and take advantage of intertextuality approach.
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Kotaridi, Yuliya G. "Philosophical Versions of the Eternal Storyline About Cupid and Psyche: from Neoplatonism to Christianity." Проблемы исторической поэтики 27, no. 1 (February 2020): 36–55. http://dx.doi.org/10.15393/j9.art.2020.7302.
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<p>The subject of this paper is the transformation of the poetics of Cupid and Psyche plot in its national and historical modifications in European literature. The methodology of the analysis is based on mythological studies (A. N. Veselovsky, A. F. Losev) and genre studies (M. M. Bakhtin, S. S. Averintsev, E. M. Meletinsky, etc.). Allegorization of the images of Love and Soul appeared in the antiquity long before the novel by Apuleius “Asinus Aureus” or “Metamorphoses” (the 2<sup>nd</sup> century AD). In a Greek epigram Eros is often associated with the element of fire that puts the soul — “Psycho” — to a variety of ordeals and tortures. In “Metamorphoses” by Apuleius the tale about Cupid and Psyche can be seen as an allegorical narration about the soul traveling around the world and looking for ways to Love and eternal life. Later, the parabolic core of the ancient story was enriched with new motifs from the arsenal of mythology, Neoplatonism and Christianity. The archetypical basis and platonic paradigm of the plot in “Metamorphoses” by Apuleius go together in a syncretic unity, that provides universality and polysemy of the different versions of tales about Cupid and Psyche in European literature. The neoplatonic version of the story, which interprets the reunion between Cupid and Psyche as the Union of God and Soul, is represented in literature by writings of Fulgentius, Boccaccio, Heine, Coleridge, Żuławski and others.</p>
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YOSE, JOSEPH, RALPH KENNA, PÁDRAIG MacCARRON, THIERRY PLATINI, and JUSTIN TONRA. "A NETWORKS-SCIENCE INVESTIGATION INTO THE EPIC POEMS OF OSSIAN." Advances in Complex Systems 19, no. 04n05 (June 2016): 1650008. http://dx.doi.org/10.1142/s0219525916500089.
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In 1760 James Macpherson published the first volume of a series of epic poems which he claimed to have translated into English from ancient Scottish-Gaelic sources. The poems, which purported to have been composed by a third-century bard named Ossian, quickly achieved wide international acclaim. They invited comparisons with major works of the epic tradition, including Homer’s Iliad and Odyssey, and effected a profound influence on the emergent Romantic period in literature and the arts. However, the work also provoked one of the most famous literary controversies of all time, coloring the reception of the poetry to this day. The authenticity of the poems was questioned by some scholars, while others protested that they misappropriated material from Irish mythological sources. Recent years have seen a growing critical interest in Ossian, initiated by revisionist and counter-revisionist scholarship and by the two-hundred-and-fiftieth anniversary of the first collected edition of the poems in 1765. Here, we investigate Ossian from a networks-science point of view. We compare the connectivity structures underlying the societies described in the Ossianic narratives with those of ancient Greek and Irish sources. Despite attempts, from the outset, to position Ossian alongside the Homeric epics and to distance it from Irish sources, our results indicate significant network-structural differences between Macpherson’s text and those of Homer. They also show a strong similarity between Ossianic networks and those of the narratives known as Acallam na Senórach (Colloquy of the Ancients) from the Fenian Cycle of Irish mythology.
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Strode, Anna. "Reliģiskie tēli 17. gadsimta latīņu kāzu dzejā Rīgā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 14–28. http://dx.doi.org/10.37384/aplkp.2021.26-1.014.
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The humanists of Riga began to compose various Latin poetry texts due to the currents of European humanism, which came to Livonia soon after the Protestant Reformation took place in Livonia in the first half of the 16th century. As a result of this historical and religious impact, the level of education increased, enabling an environment for the development of the literature. The aim of the article „Religious characters in the 17th-Century Nuptial Poetry in Riga” is to bring to light the content of nuptial (epithalamium, ὑμέναιος/hymenaeus, carmen nuptialis etc.) poetry written in Riga in the 17th century, providing insight into the most frequently mentioned characters and their meaning, as well as by exploring the specific features of occasional poetry to capture reader’s and researcher’s interest in the previously undiscovered cultural heritage. The subject of the study is more than 380 Latin nuptial poems, which are stored in the Department of Manuscripts and Rare Books of the Academic Library of the University of Latvia. The poems are printed at the beginning of the 17th century by the second typographer of Riga city Gerhard Schröder (?–1657). The article includes data from a classification table (created by the author) in which the main characteristic of each poem is highlighted, including the mentions of all (more than 280) characters from ancient Greek and Roman mythology, as well as biblical and historical characters. Fragments of Latin nuptial poetry written in Riga are included to portray the content of poetry more clearly. All translations of poetry in the article are done by the author.
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Kearns, Emily. "PINDAR AND EURIPIDES ON SEX WITH APOLLO." Classical Quarterly 63, no. 1 (April 24, 2013): 57–67. http://dx.doi.org/10.1017/s0009838812000699.
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Among the most characteristic motifs in Greek mythology is the sexual union of a god with a mortal woman and the resultant birth of a hero. The existence of hexameter poetry listing the women thus favoured – the famous women in the underworld in the eleventh book of the Odyssey, and above all theEoiai– is evidence of an interest in the women involved, not only in their heroic sons, and suggests that already at an early date the theme was the object not merely of passive reception but of an active consciousness. TheEoiai, indeed, saw such unions as an integral part of an earlier and better age, when mortals and immortals were closer:ξυναὶ γὰρ τότε δαῖτες ἔσαν, ξυνοὶ δὲ θόωκοιἀθανάτων τε θεῶν καταθνητοῖς τ' ἀνθρώπων(fr. 1 Μ–W)But it was not to be supposed that such a potentially rich theme would receive a unitary treatment. Already in their first appearances – at least, the first appearances for us – many individual stories are clearly distinguished by their different circumstances. A common variable is the existence, the kind and the degree of difficulty experienced by the woman as a result of the encounter. Polymele, for instance, mother of Eudorus by Hermes atIliad16.179–92, has seemingly no difficulty in leaving her child to be brought up by her father while she goes on to marry a mortal husband. But suffering of some sort is perhaps more usual, and famous sufferers include Cassandra, punished for spurning Apollo's advances; Danae, first imprisoned by her father in a brazen tower to prevent her pregnancy, and then locked in a chest with her baby and set afloat on the waves; and Semele, destroyed when her lover Zeus appeared to her in his true form. Such different experiences could suggest further multiple versions of the same general theme, diverging especially in the consequences of the union (or attempted union) for the mortal partner. Even the same characters could potentially undergo quite different variants of the story; the chief constant is the unfailing popularity of the mythical motif.
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Abakoka, Loreta. "Salīdzinājumu tulkojuma kvalitāte Noras Ikstenas „Soviet Milk” un „Молоко матери”." Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, no. 12 (December 21, 2020): 79–88. http://dx.doi.org/10.37384/sm.2020.12.079.
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Nora Ikstena’s “Mātes piens” (Mother’s Milk; published in English as Soviet Milk) is one of the novels in the book series “MĒS. Latvija, XX gadsimts” (We. Latvia. The 20th Century). It describes the difficulties that can arise in the mother-daughter relationship, describes the Soviet time’s environment and its impact on everyday life. The historical novel “Mātes piens” has been published in 25 countries, which means that this novel has been translated into many different cultures, which are less familiar with the mentality of the Latvian people and the USSR times in Latvia. Therefore, it is crucial how the text is translated or whether the style and the particular poetics of Nora Ikstena’s language in this novel are accurately reproduced. Therefore, the scientific research work “Quality of Translated Comparisons of Nora Ikstena’s “Soviet Milk” and “Молоко матери”” was developed. Comparisons requiring the translator to take into account both the content and the meaning of the words were analysed, as well as the aspect of language imagery and culture. The novel was translated into English by Margita Gailīts, and into Russian by Ludmila Nukņeviča. The events of the novel “Soviet Milk” take place from the end of the Second World War until the 1980s. The main character is a daughter, whose story is intertwined with the life stories of her mother and grandmother. The novel portrays the daughter’s struggle with her mother’s depression, which has deprived her of emotional intimacy with her mother since birth; the daughter continues to hope and gain her mother’s love, helping in times of crisis and ignoring several rejections. Although the translation process is very old, the question about the translation quality is still relevant. Using sources of information and gaining theoretical knowledge of the translation process, an error estimation method was developed that allows the word “quality” to be quantified. Literary translation is mostly separated from other translation types and put into a separate category, usually because the meaning of a literary work cannot be clarified in simple terms presented today. It is also difficult to analyse what the reader expects from the translation. Since there cannot be one right way of translating literature, the sense of the translator’s ethical duty to the author is the most important. However, this is very limited by how well the translator understands the author’s intentions and what is said and how much freedom the translator is given to change the text to find the most appropriate way to express the idea in the language. (Sager 1994) Four groups were divided by Juliane House’s theory (House 2014; House 2017) about overt errors. Text translation errors are divided into 2 categories – covert and overt. Covert errors are difficult to notice because, superficially, from a grammatical point of view, the sentence is correct, but its content is not logical or acceptable. The overt errors detected are obvious, constitute a systematic error. Overt errors are divided into 7 groups: 1 – not translated; 2 – a slight change in meaning; 3 – a significant change in meaning; 4 – distortion of meaning; 5 – breach of SL system; 6 – creative translation; 7 – cultural filtering. 64 comparisons in Latvian, 64 equivalents in Russian, and 55 equivalents in English were excerpted (9 comparisons were not translated). Translations of comparisons were divided into 4 groups: 1) accurately translated, 2) translations with minor changes, 3) culturally harmonized translations, 4) untranslated comparisons. Translations of comparisons that scored 5 points or more are considered qualitatively translated, given that there are no significant errors. There is no single fundamental criterion for the quality of a translation against which all translated texts can be judged. There are several definitions of quality translation, and quality is affected by many factors. The translations of comparisons in both foreign languages (English and Russian) are of high quality; they received high marks if they were analysed according to the error evaluation table because the maximum number of points that could be obtained was 6 points and no comparative translation was lower than 5 points. The Russian translation is more successful (comparative translations more often scored 6 points) than the English translation, which can be justified by the fact that the Russian language is historically and geographically a neighbor of the Latvian language, but the English language and culture are remote. Phraseological comparisons are translated literally and also more accurately into Russian; there are more of the same equivalents in the target culture. When evaluating comparisons that use the concepts of biblical story motifs or images of Greek mythology, they are mostly accurately translated into the target languages, as the target cultures are well acquainted with this religion and Greek mythology. One of the most important findings – not only literal translations are of high quality; it is much more important to express them in a way that is understandable to the target culture while maintaining the author’s writing style and the text’s main idea, paying attention to details.
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Kuzenkov, P. V. "Рождениехристианскоговостокакактрансформацияэллинистическойкультуры." Istoricheskii vestnik, no. 20(2017) part: 20 (August 30, 2019): 14–31. http://dx.doi.org/10.35549/hr.2019.2017.35076.
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The article offers a new evaluation of the wellknown phenomenon of cultural renaissance of the peoples of the Middle East and Egypt of the Syrians, the Copts, the Armenians, the Georgians, etc., in the first centuries AD. This period is commonly associated with the spreading of Christianity around the territory of the Roman Empire and the Parthian, later on Sassanid Iran. According to the author there are reasons to regard the genesis of the Christianity in the Middle East as a single yet multifaceted process of transformation of the Late Antiquity culture in its totality of the Eucumene, from the Atlantic Ocean to the Pamir mountains. The essence of this process could roughly be defined as overcoming the Hellenistic culture crisis called forth by the ever deepening disparity between the transcendental intellectual environment it had given rise to, on the one hand, and its ideological nucleus rooted in the archaic Greek mythology, on the other. The only feasible recourse out of this crisis was the appearance of a new cultural nucleus, conventionally described as the canonized sacred text (The Holy Scriptures). This nucleus, together with the Hellenistic cultural and technological achievements (general literacy, school education, science, literature, symbolic culture, etc.) gave rise to religious civilizations with Christianity as the principal example. Thus, the author describes the historical transition from the Late Hellenistic and Post Hellenistic cultures of the Ancient Rome and the Ancient Middle East that resulted in the new nationallytinged in form but supranational in content cultures of the Christianity in the Middle East.В статье предлагается новая оценка известного феномена культурного возрождения народов Ближнего Востока и ЕгиптоСирийцев, Коптов, Армян, Грузин и др. в первые века нашей эры. Этот период обычно связывают с распространением христианства по территории Римской Империи и Парфянского, позднее Сасанидского Ирана. По мнению автора есть основания рассматривать генезис христианства на Ближнем Востоке как единый, но многогранный процесс трансформации культуры поздней Античности в ее тотальности Ойкумены, от Атлантического океана до Памирских гор. Суть этого процесса можно приблизительно определить как преодоление кризиса эллинистической культуры, вызванного все более углубляющимся несоответствием между трансцендентальной интеллектуальной средой, которую она породила, с одной стороны, и ее идеологическим ядром, коренящимся в архаической греческой мифологии, с другой. Единственным возможным выходом из этого кризиса было появление нового культурного ядра, условно описываемого как канонизированный священный текст (Священное Писание). Это ядро, наряду с эллинистическими культурными и технологическими достижениями (общая грамотность, школьное образование, наука, литература, символическая культура и др.) породило религиозные цивилизации с христианством, в качестве основного примера. Таким образом, автор описывает исторический переход от Позднеэллинистической и Постэллинистической культур Древнего Рима и Древнего Ближнего Востока к новым национально окрашенным по форме, но наднациональным по содержанию культурам христианства в Cредние века.
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King, Helen. "(J.) Bremmer Ed. Interpretations of Greek mythology. London: Routledge, 1988. Pp. viii+294, [8] text figs, [2] maps. £10.95. (paper). - (P.) Veyne Did the Greeks believe in their myths? An essay on the constitutive imagination. Trans. P. Wissing. Chicago and London: University of Chicago Press, 1988. Pp. xii+161. £19.95 (bound), £8.95 (paper)." Journal of Hellenic Studies 110 (November 1990): 246. http://dx.doi.org/10.2307/631786.
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