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Journal articles on the topic 'Creation myths'
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MacIntyre, Ferren. "Creation Myths." BioScience 45, no. 8 (September 1995): 516. http://dx.doi.org/10.2307/1312690.
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Kupperman, Karen Ordahl. "Creation Myths." Historically Speaking 8, no. 4 (2007): 2–5. http://dx.doi.org/10.1353/hsp.2007.0054.
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Ataç, Mehmet-Ali. "Manichaeism and Ancient Mesopotamian "Gnosticism"." Journal of Ancient Near Eastern Religions 5, no. 1 (2005): 1–39. http://dx.doi.org/10.1163/156921205776137945.
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AbstractThis essay compares Manichaean cosmogony with select ancient Mesopotamian myths with special emphasis on parallels between the Manichaean "First Creation" and the myth of the Descent of Inanna/Ishtar to the netherworld. It further compares the Manichaean "Second Creation" and "Third Creation" with aspects of the Babylonian Poem of Creation, Enuma Elish, and The Epic of Gilgamesh respectively. Unlike Gnostic myths, no overall semantic network seems to tie individual Mesopotamian myths together. However, close correspondence between both traditions not only helps one see certain Mesopotamian myths in a different light, but also reveals the indebtedness of Gnostic myths to Near Eastern antiquity.
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Sartini, Sartini, and Luwiyanto Luwiyanto. "Mitos Penciptaan pada Serat Purwakandha Brantakusuman dan Potensi Kajian Filsafatnya." Jurnal Filsafat 30, no. 1 (February 29, 2020): 92. http://dx.doi.org/10.22146/jf.43718.
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This article examines the creation myth in Serat Purwakandha Brantakusuman (SPB), how its characteristics are compared to myths in Indonesia and existing mythical theories, and explains philosophical themes that can be examined from these myths in order to give its theoretical contributions in existing mythical theories. It is a literature study by reviewing books texts, research reports, journals, and other sources. The analysis is done by interpretation, coherence-holistic, description, and analysis-synthesis. The theoretical framework used is the myth theory C A. Van Peursen and Clifford Geertz. The results of the study indicate that the myth of the creation of plants in SPB is based on the story of the death of Dewi Tisnawati who was banished to earth. The study of myths about the origin of plants is new because research examining myths related to agriculture and Dewi Sri, the influence of myths in life and human activities, forms of rituals and socio-cultural activities, and the relationship between myths and art, are more related to origin place. The myths in SPB and myths in Indonesia contribute to supporting myth concepts that have been described by great thinkers. The creation myth and other myths in the SPB can be subject to study from the perspective of the branches of philosophy and its conceptual substances can also be criticized philosophically
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Botero Camacho, Manuel, and Julio San Román Cazorla. "The Electric Golem: Updating The Myth in Ian McEwan’s <em>Machines Like Me</em>." Revista de Filología y Lingüística de la Universidad de Costa Rica 48, no. 1 (August 12, 2021): e48061. http://dx.doi.org/10.15517/rfl.v48i1.48061.
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This article presents the evolution of the Golem’s myth in Ian McEwan’s Machines Like Me using the myth’s actualisation presented in Borges’ poem “The Golem”. An analysis of how the mythic roles embodied by the main characters of the novel are reverted is provided, establishing a parallelism between the myth and the modern theme of androids. The result of this appears to be catastrophic for humanity as the artificial creation of life and the inclusion of androids in society is perceived as a threat due to the fact that ancient creation myths remain in humankind’s memory, especially those where humans’ creations defy their creators. Adam, the android who plays the role of the Golem ultimately reveals himself as a perfect creation, far from what his mythic counterpart is supposed to be and Charlie, his owner and creator, afraid of being inferior to the android, decides to kill him in order to reaffirm the already established human power over the machines.
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Mabey, Richard. "Myths in creation." Nature 352, no. 6338 (August 1991): 766. http://dx.doi.org/10.1038/352766a0.
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Aroshidze, Marine, and Nino Aroshidze. "The great social experiment: when dreams did not turn into reality." Balkanistic Forum 30, no. 3 (October 5, 2021): 314–28. http://dx.doi.org/10.37708/bf.swu.v30i3.18.
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The great social experiment in building socialism, which was supposed to develop into communism, was based on a number of attractive political myths, for the creation of which a special symbolic universe was created, a wide range of various sign systems were involved, among which language played the most important role: as a means of creating a political myth and the means of its constant feeding (the myth-making function of the language). This allowed (in conjunction with other means of subjugating the totalitarian state) for a long period to manipulate the consciousness of the masses, educating the younger generation in the given ideological framework. However, being the most important means of creating myths, language at the same time has enormous potential for its destruction. An analysis of texts criticizing the political ideology prevailing in the Soviet empire allowed us to single out two main types of myth-destroying texts: 1) texts criticizing the existing order (anecdotes, caricatures, parodies, political fables, etc.) and 2) texts that destroy the “information vacuum» (photographic documents, archival documents, autobiographies, etc.). The artistic works of dissidents of socialist ideology (Vladimir Vysotsky, Nikolai Guberman, Alexander Solzhenitsyn, Mikhail Bulgakov, etc.), which often combined both functions, had a special appellative-influencing force. Analysis of the role of language in the creation of myth as a socio-cultural phenomenon on the example of the myths of the Soviet era in the context of modern globalization of knowledge and the interdisciplinary scientific paradigm demonstrated the semiotic mechanism of myth creation and the dynamics of their destruction.
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Vladyslav Buinitskyi and Anatolii Yakovets. "THE ROLE OF THE MEDIA IN SHAPING THE IMAGE OF A POLITICIAN." World Science 3, no. 11(51) (November 30, 2019): 34–37. http://dx.doi.org/10.31435/rsglobal_ws/30112019/6783.
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This article discusses the ability of the media to influence the political culture and consciousness of society, in particular through the creation of stereotypical symbolic constructs such as political images and political myths. The features and the role of each type of media in the formation of the images of political leaders and parties are presented, as well as some techniques that the media use in the process of updating political images are presented. It is known that the main goal of the media in the process of constructing political images is the creation and dissemination of political myths. The article discusses in detail four main topics from all possible plots of political myths: “the myth of the conspiracy”, “the myth of the golden age”, “the myth of the hero-savior”, “the myth of unity”.
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Merolla, Daniela. "Filming African Creation Myths." Religion and the Arts 13, no. 4 (2009): 521–33. http://dx.doi.org/10.1163/107992609x12524941450082.
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AbstractAfrican film directors have made use of mythology and oral storytelling in countless circumstances. These filmmakers have explored the core role that orality plays in ideas of African identity and used mythological themes as allegorical forms in order to address present-day issues while working under dictatorial regimes. They have turned to mythology and oral storytelling because of their determination to convey an African philosophical approach to the world, often to counter the colonial and neo-colonial oversimplification of African cultures seen as bereft of grand narratives on the self and the world. Identity construction, critical allegorical messages, and philosophical approaches are discussed in this paper by looking at the interplay between verbal narrative and images in two “epic” films: Keïta, l'héritage du Griot (1995) directed by Dani Kouyaté, and Yeelen (1987) directed by Souleymane Cissé.
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Ф.М., ТАКАЗОВ,. "HUMAN CREATION IN OSSETIAN MYTHOLOGY: TYPOLOGICAL ASPECT." Kavkaz-forum, no. 12(19) (December 14, 2022): 45–54. http://dx.doi.org/10.46698/vnc.2022.19.12.002.
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Наиболее фундаментальным и типичным видом мифотворчества осетин являются космогонические мифы. Космогонические мифы повествуют о происхождении космоса в целом и его частей, связанных в единой системе. Основным начальным сюжетом творения мира в осетинской космогонии является происхождение космоса из хаоса. Часть космогонии составляют антропогонические мифы, в том числе о сотворении человека, первой человеческой пары или первых людей. Осетинская мифология, восходящая к индоиранскому наследию, испытала влияние христианства, ислама и кавказской культурной общности. Актуальность исследования мотива творения человека заключается в том, что изучение антропогонических мифов составляет значимое звено по осмыслению целостной мифологической картины мира осетин. На основе типологического сравнения в статье рассматриваются сюжеты, восходящие к библейским мифам о творении человека. Осетинские мифы об Атане и Амане, об Арыге и Магре, несмотря на использование фольклорных традиций осетин при их пересказе, в своей основе сохраняют библейские рассказы об Адаме и Еве, потопе и Ноевом ковчеге. Однако большинство вариантов с мотивом творения человека, хотя имеют типологические схождения в мировом фольклоре, не выходят за рамки традиционного мифотворчества. Сюжет про нартовского героя «Сауасса» представляет интерес тем, что инициатором его сотворения выступает Солнце. В целом, все варианты антропогонических мифов расширяют понимание мифологической картины мира осетин. Для анализа сюжетов с мотивом творения человека были применены историко-культурный, символический и семиологические подходы в рамках типологического и сравнительно-исторического метода. Несмотря на многочисленные работы по мифологии осетин, антропогонические мотивы остались вне поля зрения ученых, что определяет новизну настоящего исследования. The most fundamental and typical type of Ossetian myth-making is cosmogonic myths. Cosmogonic myths tell about the origin of the cosmos as a whole and its parts connected in a single system. The main initial plot of the creation of the world in Ossetian cosmogony is the origin of the cosmos from chaos. Part of the cosmogony consists of anthropogonic myths, including the creation of man, the first human couple or the first people. Ossetian mythology, which dates back to the Indo-Iranian heritage, has been influenced by Christianity, Islam and the Caucasian cultural community. The relevance of the study of the motive of human creation lies in the fact that the study of anthropogonic myths constitute a significant link in understanding the holistic mythological picture of the Ossetian world. Based on a typological comparison, the article examines the plots dating back to the biblical myths about the creation of man. The Ossetian myths about Atan and Aman, about Aryga and Magra, despite the use of Ossetian folklore traditions in their retelling, basically retain the biblical stories about Adam and Eve, the flood and Noah's Ark. However, most variants with the motif of human creation, although they have typological similarities in world folklore, do not go beyond the traditional myth-making. The plot about the Nart hero "Sauassa", although it has typological similarities, is of interest because the Sun acts as the initiator of its creation. In general, all variants of anthropogonic myths expand the understanding of the mythological picture of the Ossetian world. Historical-cultural, symbolic and semiological approaches within the typological and comparative-historical method were used to analyze the plots with the motive of human creation. Despite numerous works on the mythology of the Ossetians, anthropogonic motifs remained out of sight of scientists, which determines the novelty of this study.
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Dadvar, Abolghasem, and Roya Rouzbahani. "Role of Nature in Creation of Iranian Myths." Asian Social Science 12, no. 6 (May 20, 2016): 123. http://dx.doi.org/10.5539/ass.v12n6p123.
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<p>Nature has always been an important element of myths and religions and had a different standing within ideologies. Because various factors have been involved in creation of myths, this research aims to clarify the role of nature in creation of Iranian myths. Generally, the structure of Iranian myth is a kind of belief in duality of nature, in human and in the conflict forces existing in the world which best are expressed in the continued conflict between good and evil forces. Iran is a country with varied natural geography and can be called the land of great conflicts, so this paper aims to investigate the role of nature in the creation of Iranian myths and determine the effective natural and mythological forces. Data gathered by the documentary method and the research was performed by a descriptive, adaptive and analysis method. According to the results, this research concludes that natural elements play a significant role in the Iranian myth.</p><p>llected through library-field. The subjects in this study consist of Payame Noor University staff of Hormozgan province.</p><p> </p><p>In this study, 54 staff of Bandar Abbas Payame Noor University were selected through random sampling. After gathering the required data through knowledge management questionnaire, knowledge management processes were measured based on the five dimensions such as the capture of knowledge, acquisition of knowledge, transmission of knowledge, creation of knowledge and application of knowledge. In order to provide for the reliability of the questionaire cronbachs alpha was used. In order to check the significance of the difference between responses descriptive and inferential statistics such as regression, one way anova and t test were run using SPSS version 20. The result show that the staff means score of knowledge management was 76/66±20/48. The result shows that there was a significant relationship between social capital and knowledge management. Also there was a significant relationship between social capital and the five components of knowledge management such as capture of knowledge, acquisition of knowledge, transmission of knowledge, creation of knowledge and application of knowledge. Also there was a significant relationship between human capital and the component of knowledge management.</p>
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Selig, Ruth O. "Teachers' Corner: Using Creation Myths." AnthroNotes : National Museum of Natural History bulletin for teachers 1, no. 2 (September 12, 2014): 2. http://dx.doi.org/10.5479/10088/22222.
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Ogdoc-Gascon, Doris. "Gender Socialization in Creation Myths." International Journal of Culture and History (EJournal) 2, no. 2 (2016): 83–86. http://dx.doi.org/10.18178/ijch.2016.2.2.043.
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Ghasemi Rozveh, Nasser, and Aida Danaye. "Sindbad Myth in the Poem by Khalil Hawi." International Letters of Social and Humanistic Sciences 64 (November 2015): 150–61. http://dx.doi.org/10.18052/www.scipress.com/ilshs.64.150.
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Extensive use of mystery and myth as a means of expression is one of the most eminent artistic phenomena at new poetry experiences. The reflection of myths in poetry, is the most beautiful and artistic application of mythmaking. With reflection of myths, the mythological world became the parade ground for poet`s imagination and creation and also for mythmaker writer, so it can link past and present, and by this way shows social and political deductions and perceptions for readers, and fulfills human art and cultural needs. Also, Arab current poets used of Arabic and even other old nation`s myths, and expressed their thoughts and ideas by using these myths with respect to environment and circumstances. This paper aims to study the most dominant myths in Khalil Hawie`s poems, beside defining idiomatic and lexical of myth.
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Angeline, Mia. "Mitos dan Budaya." Humaniora 6, no. 2 (April 30, 2015): 190. http://dx.doi.org/10.21512/humaniora.v6i2.3325.
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This article describes the role of myth and some universal themes of myth, such as the creation of the world, a huge flood, death, and the end of the world. Almost all the world's myths concern this universal themes, as seen from the similarity of some of the myths followed by many cultures in the world. These myths have primary functions to human’s behavior and attitude because people keep telling almost the same myths to their predecessors. The goals for this research are (1) knowing the functions of myths with famous themes from various culture and (2) knowing the background and relationship between myths and modern culture. The result describes the relationship between the cultural myths, where the core of the story is the truth of humanity. In addition, myth acts as a template to organize their daily activities as well as human activity, but it also serves to introduce human to a greater power in the universe. The values in each story will be interpreted as rules and customs that must be met, and this has resulted in the emergence of a culture passed down from generation to generation.
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Podolecka, Agnieszka. "Zulu Creation Myths by Credo Mutwa – Ancient Tradition or Mutwa’s Invention?" Journal of Religion in Africa 51, no. 1-2 (December 27, 2021): 111–32. http://dx.doi.org/10.1163/15700666-12340202.
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Abstract Vusamazulu Credo Mutwa (1921–2020) was one the most famous and controversial sangomas in South Africa. He is the first sangoma who published books about sangomas’ vocation and work, and revealed his version of Zulu myths. This paper first establishes if Mutwa’s tales can be considered myths, then if those stories are cohesive with versions known to academics and contemporary sangomas. The aim of this article is to analyse the creation myths that Mutwa presents, establish if they are original Zulu myths or his creations, and find international mythological motifs that could have influenced him. Mutwa’s myths are compared with myths collected by other researchers. Mutwa’s opinions, gained during a 2013 field visit to his home in Kuruman, South Africa, are also presented. The field studies among contemporary sangomas were financed by the Polish National Science Centre (Narodowe Centrum Nauki), Poland, project no. 2017/25/N/HS1/02500.
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Mankovskaya, Nadezhda Borisovna. "Postmodernism as Myths Generating Practice." Journal of Flm Arts and Film Studies 1, no. 1 (November 15, 2009): 26–45. http://dx.doi.org/10.17816/vgik1126-45.
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The article deals with an aspect of postmodernism in art connected with the creation of new type of myths also on the base of newest technology. Speciicity of postmodern myths generation in cinema, literature, painting, actual art-practices is turned out. Particularities of its occidental and Russian varieties are analyzed on the examples of P. Greenaway, M. Barney, D. Prigov, I. Kabakov creations.
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Bruinessen, Martin Van. "THE PEACOCK IN SUFI COSMOLOGY AND POPULAR RELIGION." Epistemé: Jurnal Pengembangan Ilmu Keislaman 15, no. 02 (October 23, 2020): 177–219. http://dx.doi.org/10.21274/epis.2020.15.02.177-219.
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In various cultural and religious contexts, from West Asia to Southeast Asia, we come across a number of quite similar creation myths in which a peacock, seated on a cosmic tree, plays a central part. For the Yezidis, a sect of Sufi origins that has moved away from Islam, the Peacock Angel, who is the most glorious of the angels, is the master of the created world. This belief may be related to early Muslim cosmologies involving the Muhammadan Light (Nur Muhammad), which in some narratives had the shape of a peacock and participated in creation. In a different set of myths, the peacock and the Tree of Certainty (shajarat al-yaqīn) play a role in Adam and Eve’s fall and expulsion from Paradise. The central myth of the South Indian Hindu cult of the god Murugan also involves a tree and a peacock. The myth is enacted in the annual ritual of Thaipusam, like the Nur Muhammad myth is still enacted annually in the Maulid festival of Cikoang in South Sulawesi. Images of the peacock, originating from South India, have moved across cultural and religious boundaries and have been adopted as representing the different communities’ peacock myths.
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Tatyana V., Izluchenko. "The Role of Myth in Extremism: the Socio-Philosophical Analysis." Humanitarian Vector 16, no. 2 (April 2021): 88–96. http://dx.doi.org/10.21209/1996-7853-2021-16-2-88-96.
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This study examines myth as an ideological component of extremism. The objective is to define the role and meaning of myths in extremist activities. Extremism is a socio-cultural and political phenomenon of modern culture, expressed in actions against the foundations of the constitutional order and public security. Myths contribute to the formation of a holistic picture of the world, to the construction of an alternative social reality, and the creation of models of thinking and behavior that correspond to the goals and objectives of extremist organizations. The research methodology is based on the theories of myth by A. Losev and M. Eliade, on the phenomenological approach of P. Berger and T. Luckmann to the construction of reality, on the cognitive features proposed by A. Kruglanski, and the interpretation of deviance by J. Gilinsky. Extremist behavior is a form of deviance, expressing in the committing of non-normative actions that threaten the stability of society and activate the mechanisms of social control. Extremist thinking is the result of psychological construction, which arose on the basis of the unnatural functioning of the cognitive system. Extremist ideologies contain myths about the future ideal state and/or society, heroes, and legendary personalities, as well as eschatological myths. Essentially, these myths do not differ from the myths inherent in other types of activity and socio-cultural phenomena. However, they contribute to extremism by demonstrating acceptable and unacceptable norms of behavior as exemplified by some legendary personalities; interpretation of historical events and processes of social reality following the political goals of organizations; creation and transmission of relevant ideas and values; the formation of identity and a sense of exclusivity among extremists. Keywords: extremism, extremist organizations, ideology, myth, future state, ideal society, deviance
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Yuliza, Fresti. "PEWARISAN TARI RAWAS DALAM MASYARAKAT SUKU SERAWAI DI KAWASAN MANNA, KABUPATEN BENGKULU SELATAN." Melayu Arts and Performance Journal 3, no. 2 (October 1, 2020): 129. http://dx.doi.org/10.26887/mapj.v3i2.1334.
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This paper discusses the rawas dance, which is the name of a dance that lives and develops in the Serawai ethnic community in Manna, South Bengkulu Regency. Applying a qualitative research approach with descriptive analysis methods, a review of the rawas dance is conducted to see: (2) the structure of the dance; (2) the rituals that follow; and (3) the creation myth behind it. Research shows that the rawas dance is sacred by the Manna community, because it is believed to be a dance created by a mystical force. The connection with this mystical power creates a myth about the creation of the rawas dance, which describes the process of creating this dance. The inheritance of the rawas dance then goes along with the inheritance of the myths about its creation. A form of inheritance, traditionally running from one generation to the next through a unique way of learning
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Stone, Janferie. "Creation Myths of Primitive America (review)." Marvels & Tales 19, no. 1 (2005): 131–33. http://dx.doi.org/10.1353/mat.2005.0017.
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Blier, Suzanne Preston. "African Creation Myths as Political Strategy." African Arts 37, no. 1 (April 1, 2004): 39–94. http://dx.doi.org/10.1162/afar.2004.37.1.39.
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Leal, Luis. "Sin fronteras: (Des) mitificación en las letras norteamericanas y mexicanas." Mexican Studies/Estudios Mexicanos 9, no. 1 (January 1, 1993): 95–118. http://dx.doi.org/10.2307/1052102.
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This article examines the presence of myths in the works of North American and Mexican authors, showing how they affect Mexico/United States relations. Some attention is given to myth creation by Chicano writers and also the process of desmythification.
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Juhani, Sefrianus, and Antonius Denny Firmanto. "Dimensi Eko-Eskatologis dalam Mitos Penciptaan pada Masyarakat Manggarai Nusa Tenggara Timur." Jurnal SMART (Studi Masyarakat, Religi, dan Tradisi) 7, no. 2 (December 6, 2021): 254–64. http://dx.doi.org/10.18784/smart.v7i2.1380.
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One of the problems suspected to be faced by human is environmental problems. Whereas in various traditions generated by the ancestors, it encourages harmony between human life and nature through mythology, including the teachings of eschatology. The ecological crisis that occurred because of leaving the concept of eco-eschatology in religion and culture. This paper aims to find the ecoeschatological dimension in the creation myth of the Manggarai Community, NTT. The study used qualitative approach with ethnographic methods. Data were obtained through interviews with several key informants from several villages in Manggarai. The results of the study found two myths that have the eco-eschatological local wisdom, namely the myth of the origin of humans and the origin of plants. There are several eco-eschatological meanings in the creation myth, those are everything was created by Morin, all creations have an eschatological future, and there is continuity and discontinuity between the old creation in the world and the new creation in the eschatological world. These meanings bear some resemblance to the teachings in Catholic theology of creation. This finding contributes to the Church in efforts to sensitize the people in relation to the ecological crisis. In addition, local wisdom is also the basis for the environmental conservation movement.
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Rakhmanov, Bakhodir Mamajanovich. "The Genres Of Myth, Legend And Narration’s Historical Destiny." American Journal of Social Science and Education Innovations 02, no. 11 (November 28, 2020): 301–8. http://dx.doi.org/10.37547/tajssei/volume02issue11-51.
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The article analyzes the current state and functional features of the genres of myth, legend and narrative in post folklore. Small genres of folk oral epic creation, such as myths, legends, and narratives, serve the function of providing artistic information to the listener. They do not have a special artistic form. In addition, these genres have a broad mass performance character and do not have special performers. Because myths, legends, and narratives are dominated by exaggerated fiction, exaggerated interpretation, real reality does not fit their imaginative capabilities.
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K, Manivasagam. "Murugan myth - Morality stands and lives long - Religion and religious norms." International Research Journal of Tamil 3, S-2 (April 30, 2021): 66–71. http://dx.doi.org/10.34256/irjt21s213.
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Ideological forms have been one of the cultural forms of human dialectics. When ideologies were designed to develop human psychology, all the functional forms of human movement were formed with the focus of the ideology. In that respect, the ideological invasion and its cult ivory have been carried out all over the world. In the broad era, vedic cultural creations and ideologies dominated the ideological forms of the landscape or the aboriginal peoples. They were also built up as the first and the highest. The arrival of aryans and the spread of Aryan culture led to the creation of many myths in the form of a number of north Indian gods with Muruga. The myths of murugan's birth were created. Thirumurukaattupadai mentions many myths. All these myths are related to murugan myths and are made to speak the specialities of Muruga. It is not the Tamil tradition to build myths and worship myths as gods. Yet myths were widely distributed in Tamil nadu and myths were accepted by the Tamil people as worship gods.
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Slon'ovska, Olha. "Yevhen Malaniuk as a founder of the Ukrainian literary myth of the XX century." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 85–91. http://dx.doi.org/10.34079/2226-3055-2020-13-22-85-91.
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Myths are regarded as the metaphysical engines of the national progress, a specific code-program for the state development, as a vector of the individual mission of an individual nation. In general, the ideological and political myths of national states are metaphorically derived primarily from their national anthems. The anthem is a kind of vaccine against assimilation and is effectively delivered to educate the younger generation in the spirit of civic consciousness. Decadent (frustration) myths destroy the national idea, vitaistic and consolidating myths inspire, compact and unite any nation. The National Anthem, as the primary literary formulation of the national idea, gives impetus to the constant creation by the writers of the myth of the state and the nation as a specific phenomenon at the artistic level. The literary myths of stateless peoples are always preceded by the emergence of their own ideological and political myths as well. Among the most talented passionaries of every «incomplete» nation, there must be a talented philosopher or politician who will be able to verbally formulate the idea of a new ideological-political myth, which will be based on a national idea. Similarly, in the nineteenth century the ideological-political myth for Ukrainians was «Law of God (Book of Being of the Ukrainian People)» by M. Kostomarov. It is natural that this philosophical and propaganda work had a great influence on Kobzar and led to the creation of the literary myth of Ukraine by our national poet-genius, T. Shevchenko. The beginning of the twentieth century for the Ukrainians was marked by the tragic fall of the young state of the UNR. The nation had to start all over again in order to endure. There was a need for a new ideological and political myth of Ukraine of the twentieth century. It was created by Ye. Malaniuk with his own essays about the most talented Ukrainian politicians, including B. Khmelnitskyi and I. Mazepa, as well as M. Hrushevskyi and S. Petliura. In his essays on the past of Ukraine Ye. Malaniuk not only wrote about biographies of bright historical figures, but above all analyzed Ukrainian national victories and tragedies, logically argued mistakes and losses of our nation’s leaders, considered the issues of «his» and «alien», determined a peculiar «doctrine», submitted in a wide typre of «enemy face» of the Ukrainian statehood. Ye. Malaniuk also analyzed the positive and negative features of the Ukrainian mentality, aptly raised the question of passion, foresighted the stages of becoming the future of Ukraine as a sovereign nation-state at the end of the twentieth century. On the basis of his own ideological and political myth, the poet started to create the literary consolidating myth of Ukraine. His initiative was taken by contemporaries of the artist – the most talented writers-modernists of the Ukrainian diaspora of the twentieth century. The concept of the literary myth of Ukraine has been considered by the researcher Olha Slon’ovska; the significant role played by Ye. Malaniuk as a poet and essay writer in creating the literary myth has been revealed.
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Nongdhar, Mandalinia. "A Reflection on the Khasi Myth: Ka Meiramew (Mother Earth)." Spectrum: Humanities, Social Sciences and Management 6, no. 1 (December 13, 2019): 61–66. http://dx.doi.org/10.54290/spectrum/2019.v6.2.0006.
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This paper attempts to give a brief reflection of the concept of Ka Meiramew (Mother Earth) and myth of origin. It also discusses a strong cultural and philosophical tradition. There is also an awakening trend among the tribal scholars, to examine these value judgements in relation to the oral past. Although have a number of myths, this paper covers only one popular creation myth.
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Schipper, Mineke. "Creation Myths and the Visual Arts: An Ongoing Dialogue between Word and Image." Religion and the Arts 13, no. 4 (2009): 410–18. http://dx.doi.org/10.1163/107992609x12524941449840.
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AbstractEven though in most arts faculties the verbal and the material arts are usually studied separately, they are closely connected in mutually clarifying ways. The various contributions to this issue demonstrate convincingly how relevant it is to study verbal and visual artistic expressions of creation myths in combination. In practical terms, the first step is to describe the connections and functions of the specific material and verbal genres concerned. African oral myths about the origin of black and white people and wooden sculptures referred to as colons are a case in point. The function of the myth was to explain the origin of racial difference and to answer the question why white people were wealthier and more powerful than black people. The sculptures served to re-appropriate the power and prestige lost to the colonizer in new ways. The example illustrates how the two artistic genres had different functions and played complementary roles in people's dealing with Europe's colonial presence in Africa.
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V, Valarmathi. "Art myths in the epic." International Research Journal of Tamil 3, no. 1 (January 23, 2021): 158–65. http://dx.doi.org/10.34256/irjt21117.
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Art is essentially the one which fantasizes by its aesthetics and provides pleasure through a newer perspective. Nature is the basis for any artistic creation and a creative artist composes literature based on his perseverance love for nature and intellectual vigor. The artist intensely feels that everyone should enjoy what he has enjoyed and this is the uniqueness of art. Myth is the originator of all the arts which came later and myth is employed as the interior focal matter around which the story of an epic nature revolves. We come to know that the ancient Tamilians knew the art of integrating and operating the myths to entertain and enlighten the society.
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Breslavets, N. O., and L. A. Vozniuk. "MYTHS, CUSTOMS, RITUALS – REPRODUCTION OF CULTURAL CREATION." Lviv Philological Journal, no. 11 (2022): 27–34. http://dx.doi.org/10.32447/2663-340x-2022-11.4.
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Mason, Matthew. "Creation Myths: The Beginnings of Robotics Research." IEEE Robotics & Automation Magazine 19, no. 2 (June 2012): 72–77. http://dx.doi.org/10.1109/mra.2012.2191437.
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Shin, Yeon-Woo. "Understanding Trickster through Creation Myths of Korea." Journal of Korean Classical Literature ll, no. 44 (December 2013): 101–28. http://dx.doi.org/10.17838/korcla.2013..44.004.
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Kulikova, О. V. "The media myth creation in the anthropocentric dimension (the english social and political discourse studies)." Philology at MGIMO 7, no. 2 (July 6, 2021): 53–63. http://dx.doi.org/10.24833/2410-2423-2021-2-26-53-63.
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The paper considers linguistic and discursive features of anthropocentric myth creation in the social and political media. Myth creation in the social and political context is viewed as creation of social and political myths correlating with real and fictional events, public persons or social and political phenomena. The author brings into light the role of the media audience as one of the leading factors ensuring successful creation of the media mythological image appealing predominantly to the emotional sphere in the mass recipient’s consciousness. Strange as it might seem, the anthropocentric mythological discourse demonstrates the minimal amount of explicit emotiveness, which creates conditions for independent evaluation of the information by the audience itself. Narrative is considered to be the basic myth creation format. It is represented as a series of stories about the myth creation object. Given the diachronic aspect of myth creation and its chronotope which can span quite a long period of time, it is suggested to speak of the narrative continuum focused on a media person who is in the centre of public attention. It is pointed out that media myth creation takes place on the basis of implications which appear in the process of reception of factual information by the media audience. The interaction of verbal and non-verbal means typical of the media fosters creation of a full-bodied anthroponymic mythological image, which calls for a special study.
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Haiguan, Gan. "THE IMPLICATIONS OF THE MODERN MYTHS OF PETERSBURG IN THE 19TH CENTURY RUSSIAN LITERATURE." Theoretical and Applied Linguistics, no. 1 (2017): 5–15. http://dx.doi.org/10.22250/2410-7190_2017_3_1_5_15.
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Myth creation is an integral element of human consciousness. All the images related to Petersburg, due to its unique role in the process of Russian modernization and forming cultural heritage, have been mythologized in the folk literature. Based on the folk literature of Petersburg and the special situation of Russian modernization and with the combination of historism and mythicism, Russian writers, with their unique mythological thinking and awareness, created the modern myths of Petersburg, that have the same images and consistent thinking. The modern myths of Petersburg in the 19th-century Russian literature are rooted in Russian history and social reality and truly reflect all kinds of conflicts in the development of modernization of the Russian society. The myths interpret the problems of modern civilization and unfold the unchanging factors in the empirical world and historical development.
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Prilutskiy, Aleksandr. "Vaccination vs Microchipping: Triggers of Eschatological Mythology in the Context of Anti-Epidemic Measures." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 3 (July 21, 2021): 108–18. http://dx.doi.org/10.37482/2687-1505-v107.
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The coronavirus epidemic and anti-epidemic measures, such as quarantine restrictions on social activity, wide use of disinfectants, requirements for the use of personal protective equipment, as well as changes in church liturgy, rituals and sacraments lead to the creation of medical conspiracy myths. This article analyses two most important conspiracy mythologemes that are formed as a result of a conspiracy interpretation of the epidemic: the vaccination mythologeme and the microchipping mythologeme. The author proceeds from the assumption that modern eschatological conspiracy myths are based on the original non-eschatological myth, which provided a rational non-religious hermeneutics of epidemics. The eschatological version of the vaccinophobic conspiracy myth is formed on the basis of a non-eschatological conspiracy as a result of medical conspiracy theories merging with the modern version of the technophobic myth. The invariant core of the latter consists of mythologemes and mythotheologemes that interpret modern technologies within the framework of eschatological semiotics. As a result of convergence, these mythologemes form a single mythotheological complex, which, in turn, becomes a trigger for a new eschatological mythology. The paper analyses the semantic structure of this mytho-theological complex, its semiotic features, pragmatic potential and reasons for its popularity. The research was carried out within the framework of a semiotic and hermeneutic study of mythological discourse applying the method of categorical semiotics. As illustrations the author used fragments of original texts posted on conspiracy websites devoted to eschatological issues.
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Geerts, Sylvie. "Continuity and Change in the Treatment of Frightening Subject Matter: Contemporary Retellings of Classical Mythology for Children in the Low Countries." International Research in Children's Literature 7, no. 1 (July 2014): 18–36. http://dx.doi.org/10.3366/ircl.2014.0111.
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Ever since its origins, children's literature has dealt with frightening subject matter. The forms of such frightening fiction for children are, however, continuously changing. Retellings of classical mythology are a case in point as myths contain subjects that might be considered a threat to the romantic notion of the innocent child. As such, a focus upon the way authors deal with sex, death and violence in retellings of classical mythology reveals how the paradoxical impulses that govern the act of retelling – that is, a desire for preserving and challenging cultural tradition – alter under the influence of society's changing ideas about children and their literature. This paper concentrates on the rich and vivid tradition of retelling classical myths in the Low Countries. Shifts in the choice of pretext and in the age of the intended audience reveal a change of attitude towards frightening subjects in classical myths during the last decades. A closer look at retellings of the creation myths, dealing with sexual and lethal violence between parents and children, and the subject of death in the myth of Orpheus shows how the retellings of frightening myths range from unequivocal presentations as cautionary tales to demanding narratives generating unfixed meanings.
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Ruah–Midbar Shapiro, Marianna. "Lilith’s Comeback from a Jungian-Feminist Outlook: Contemporary Feminist Spirituality Gets into Bed with Lilith." Feminist Theology 27, no. 2 (January 2019): 149–63. http://dx.doi.org/10.1177/0966735018814674.
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The article presents the feminist discourse on Lilith and asks why she has returned to the centre of activity and creation? It begins with Lilith’s Integrative Myth – a description of the classic Lilith myths – whilst trying to define her image’s central characteristics. Following, I offer one integrative myth: a complex essence that contains contrasts, and stems from a variety of sources, each contributing to the formation of Lilith’s story’s numerous aspects. Lilith’s Revival is discussed, surveying the different ways in which Lilith appears in today’s feminist spiritual discourse, while presenting some of the ways in which her story is re-interpreted and used towards contemporary feminist needs. A feminist Jungian outlook on Lilith’s Myths is included, deciphering Lilith as a symbol of the life-death-life cycle, which leads to a summary of the Jungian analysis’ implications.
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Merolla, Daniela. "Introduction." Religion and the Arts 13, no. 4 (2009): 403–9. http://dx.doi.org/10.1163/107992609x12524941449804.
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AbstractSculptures, paintings, drawings, performances, and films have often refashioned narratives of the origins of the cosmos and of human beings. The essays collected in Creation Myths and the Visual Arts investigate the interplay between image and narrative and offer critical approaches from literary studies, the history of art, archaeology, and anthropology on the interpretation and categorization of verbal and visual representations of “creation myths” from all over the world.
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Pavlov, Yu M., and M. Yu Sumskaya. "A CRITIC‟S AMBIVALENCE AND CREATION OF MYTHS." Historical and social-educational ideas 9, no. 1/2 (January 1, 2017): 161–66. http://dx.doi.org/10.17748/2075-9908-2017-9-1/2-161-166.
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Marshall, J. Richard. "Science, “schizophrenia,” and genetics: The creation of myths." Journal of Primary Prevention 17, no. 1 (September 1996): 99–115. http://dx.doi.org/10.1007/bf02262740.
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Richard Marshall, J. "Science, “schizophrenia” and genetics: the creation of myths*." Clinical Psychology Forum 1, no. 95 (September 1996): 5–13. http://dx.doi.org/10.53841/bpscpf.1996.1.95.5.
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Skorobogatov, Andrey, and Alexandr Krasnov. "Law myth as a value basis of the law reality of Russia." Russian Journal of Legal Studies (Moscow) 6, no. 4 (May 26, 2020): 75–87. http://dx.doi.org/10.17816/rjls19096.
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The purpose of this article is an axiological research of the role of the law myth in the construction and functioning of the law reality of Russia. The methodological basis of the research is a postclassical paradigm, which focused on an interdisciplinary philosophical and law research of law phenomena in a broad historical and sociocultural context, and the corresponding socio-constructivist approach, which involving the research of law reality as a result of human subjective and intersubjective creative activity. One of the areas of human activity is the law myth, which plays a large role in the creation and functioning of law reality. Results: Axiological research of law myths allows to identify their theoretical and practical potential in the law life of a person and law reality. Each epoch has its own authoritarian and stable law myths, which are designed to create a certain image of law reality, which correlates with the value expectations of subjects of law consciousness and law culture. The law myth always has its core law value. The law myth appears as an internally-ordered imperative statement, which is aimed at the formation of a certain element of the image of law reality. Through law mythology, there is a legitimization of the processes taking place in society, primarily in the most normative spheres of society in politics and law. There is an attribution one or another meaning to social phenomena. Thus, law myths penetrate to legislation, acquiring the role of an ideological source of law. Identification of the myth by the law conscience turns it into a definite matrix, which serves as a standard for assessing the relevant law behavior. The law myth has a dichotomous nature. On the one hand, it is intended to interpret law reality. On the other hand, myths construct reality not only mentally, but also verbally.
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Liao, Ya. "CINEMA AS A CULTURAL INDUSTRY: MODERN MYTH-MAKING." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 88 (2023): 79–86. http://dx.doi.org/10.37313/2413-9645-2023-25-88-79-86.
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This article analyzes the possibilities of using cinema to create and disseminate myths (political, social, cultural). At the same time, the role of cinema as a cultural industry is noted, where the creation of screen reality acts as a special type of myth-making, which is evaluated not only in terms of economic effect, but, above all, as a mechanism for creating new original images of social and therapeutic value. A film work is considered as a sign ensemble, while it is determined that the level of saturation with signs and the choice of sign systems are subject to the author's intention, accordingly, the question naturally arises: what is the author's intention “subject to”. At the same time, mass cinema builds its influence in such a way that the addressee receives the maximum possible emotional impression with guaranteed pleasure. Therefore, it is “tuned” to the “general” public with the maximum average degree of perception, with the most famous iconic signs. The paper provides an analysis of the mythology of Soviet cinema, Hollywood myth-making. According to the author of the article, the creators of modern myths, without ignoring the terms and concepts of "myth-making" and "mythologization", operate with a new concept - "mythotechnologies", which, depending on the goals, differ for cinema in that in the process a "new mythological image" or an existing one will be used.
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Chester, Pamela. "Engaging Sexual Demons in Marina Tsvetaeva's "Devil": The Body and the Genesis of the Woman Poet." Slavic Review 53, no. 4 (1994): 1025–45. http://dx.doi.org/10.2307/2500845.
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To liberate … feelings of loss is the peculiar function of myths of origin, which so invariably speak to our nostalgias–R. Harrison, Forests“Devil” is a key piece in Tsvetaeva's “anti-Eden” cycle of autobiographical prose, a phrase I have coined to describe her rewriting of both the creation myth of Genesis and its Russian incarnation in the Arcadian boyhoods of Tolstoi and Aksakov. In the series of memoirs which she wrote in the 1930s, she reworked the male myth to reflect twentieth century female experience and, most importantly, to inscribe her selfdefinition as poet.
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Oinotkinova, N. R. "Plots and Motives about the Creation of the Earth and Man in the Mythology of the Altaians." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 38–62. http://dx.doi.org/10.25205/2410-7883-2020-1-38-62.
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The paper analyzes the plots and motives of Altai myths about the creation of the earth and man with the use of comparative material from the folklore of peoples with which the Altai people had close contacts in the past, in particular from Russian and Buryat-Mongolian folklore. The motives characteristic of these versions are considered: diving behind the earth; creation of the earth; the creation of man; the dog protects the human body; desecration of the human body; spilled elixir of immortality; lost heaven; the overthrow of the devil from heaven; competition of deities for primacy in the rule of the world. In the Altai folk tradition, two versions of the myth of the creation of the world and man are distinguished: the first is dualistic (pagan) and the second is “Buddhist”. In the dualistic version of the myth, the main characters are two deities – Ulgen and Erlik. In the plot of the “Buddhist” version of the myth, unlike the dualistic one, 4 deity brothers participate in the act of creation: Yuch-Kurbustan (Three Kurbustan) and Erlik. This story is joined by a Buddhist legend about how bodhisattvas competed in order for the victor to become the ruler of the world.
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Dadvar, Abolghasem, and Roya Rouzbahani. "The Role of Natural Contradictions in Creation of Good and Evil Beliefs." Asian Social Science 12, no. 7 (June 21, 2016): 129. http://dx.doi.org/10.5539/ass.v12n7p129.
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<p>Natural elements play significant role in Iranian legends. Water, mountain, earth, sky, sun, moon, stars, wind, plants, animals, rain, and fire are among natural effective and mythopoeic forces. Generally, structure of Iranian myths is a kind of believe to dichotomy in nature, in human and in contradictory forces available in the world. One of the most important aspects of this contradiction is continuous battle between good and evil. Since Iran with diverse natural geography is the land of great conflicts, main issue in this research is determining the role of natural conflicts in creating good and evil beliefs in Iranian myths. In this study, data are gathered using documentary sources and research method is comparative, descriptive, and qualitative analyses. There is natural contradiction in every land in nature and natural geography. Results indicate that among different causes that lead to formation of myths, nature and its available conflicts have great role in creation of such beliefs. <strong></strong></p>
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Sharonova, Elena, and Aleksandr Markovich Sharonov. "On the specificity of the worldview of Erzya and Moksha matrimonial myths." Филология: научные исследования, no. 8 (August 2021): 1–13. http://dx.doi.org/10.7256/2454-0749.2021.8.36164.
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Mythology is the form of consciousness of the primitive and early class society, which reproduces the views of a human on cosmos, God, and society. The object of this research is Erzya and Moksha myths on matrimonial relations. The subject of this research is the specificity of the worldview of Erzya and Moksha myths founded on the matrimonial relations. Detailed analysis is conducted on the specificity of reflection of philosophical and sociological motifs in the Erzya and Moksha matrimonial myths that emerged in the context of formation of the patriarchal family based on the social, moral and legal norms of existence. The author also explores the uniqueness of matrimonial relations with deities and people. Which gives a conceptual perspective on the type and character of the ethnic family, and the role of family in human life. The conclusion is made that stating a family by deities and people is a continuation of creation of the world in the sphere of family and social life. The author’s special contribution to this research consists in the proof that the presence of the indicated aspect in the myth is the reflection of the naive idealistic ideas and spontaneous materialistic views; substantiation of the high humanistic status of a woman in family life; designation of the heroic traits given to a woman by birth as fundamental; comprehension of matrimonial relations between deities and people through the prism of co-creation. This article is first to analyze the peculiarities of the worldview of matrimonial myths and introducing it into the scientific context, which defines its novelty.
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Urbanitsch, Peter. "Pluralist Myth and Nationalist Realities: The Dynastic Myth of the Habsburg Monarchy—a Futile Exercise in the Creation of Identity?" Austrian History Yearbook 35 (January 2004): 101–41. http://dx.doi.org/10.1017/s0067237800020968.
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What is a myth? This question cannot be easily answered; the notions and concepts used in various scientific disciplines are too divergent and, as with many other terms, they possess different meanings in different societies. For the purpose of this article, a definition by Philip Manger is useful. According to this author, a myth is “a form of poetic truth, the sifting out of an essence, a hypothetical, metahistorical core that contained an intrinsic meaning,” a meaning that joins the past to the present and thus establishes another, perhaps higher, form of reality. This holds true for all kinds of myths, but especially for the “political” myth that will be dealt with in this paper.
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Kang, Ji Yeon, and Se-jeong Oh. "A Study on the cultural sense for woman’s death through a Korean Shaman myths." Research of the Korean Classic 59 (November 30, 2022): 153–81. http://dx.doi.org/10.20516/classic.2022.59.153.
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This study aims to read the meaning of life and death culturally anew, focusing on the narrative of women’s death in Shaman myths. In shaman myths, death and resurrection events after death occur only in women (goddess). There is always death in the life of a woman who lives as a family member of a daughter, wife, and mother. Women’s death situations and the process of solving problems vary from myth to myth. However, women in myths are performing a common task in that they face a death incident while playing a role as a family member. In addition, the common narrative structure of ‘life → death → life’ can be confirmed in the process of a woman’s life leading to death and a series of events leading to another life after death. However, there is always a middle term between ‘non-life’ and ‘non-death’ in the narrative from life to death and the narrative from death to life. From this, a new cultural reading of life/death could be explored. As a result of analyzing the narrative structure and narrative method of women’s death, the women of myths are resolving the contradiction between living and dead life. Such death is not a tragic event that signifies the end of life, but shows the continuity of life in that it becomes an immortal existence that never dies as death. In this respect, the death of a woman in shaman myths is understood as a sacred event that leads to belief in the immortality of a divine being. Women face death as a mechanism to resolve the deficiencies given to life. Through this, you can read the myth of enabling filling with emptiness. It is natural for women in shaman myths to become the protagonists of cultural creation in that they rule the human world by traversing the lives of this and the afterlife. However, the cultural meaning and logic of the myths inherent in the death of women have not received much attention because of the male god’s activities shown in the myths. Death functions as an inevitable narrative device that heralds the emergence of a new goddess, and contributes to reading a new culture in that it causes an expansion of the perception of life/death.