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Journal articles on the topic 'Cretan Mythology'
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1
Harris, Paul A. "Tracing the Cretan Labyrinth: Mythology, Archaeology, Topology, Phenomenology." Kronoscope 14, no. 2 (August 26, 2014): 133–49. http://dx.doi.org/10.1163/15685241-12341301.
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This essay discusses the Cretan labyrinth in relation to J.T. Fraser’s concept of eotemporality. The Cretan labyrinth is treated in diverse contexts, including its depiction in mythology and the archaeological attempts to locate it. The topology of the ‘Cretan’ or ‘classical’ labyrinth is analyzed, and a phenomenological account of the temporal experience facilitated by walking the labyrinth is provided.
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Semybratska, Anastasiia. "The Origin and Formation of the Image of the Goddess Athena within the Olympian Pantheon." Journal of V. N. Karazin Kharkiv National University. Series: History, no. 60 (December 10, 2021): 86–100. http://dx.doi.org/10.26565/2220-7929-2021-60-05.
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The article considers the formation of the image of the goddess Athena as a member of the Olympian pantheon of gods. It should be noted that many aspects of ancient Greek religion and mythology still remain controversial. In particular, while the historiographical tradition has dwelled in relative detail on the cult of the goddess Athena and the Panathenaea, the essential origins of her image and theonym remain less studied and open to question. However, the investigation of this issue can help trace the transformation of the image of the goddess and determine her role and place among the Olympian gods. Analysis of the sources suggests that the image of the goddess Athena is quite ancient and dates back to the Cretan-Mycenaean era, while the theonym itself, according to linguistic analysis, is of Indo-European origin. Already in the Mycenaean period, the goddess was well known to the ancient Greek population; cities were named after her. The sources show an essential affinity between the image of the goddess Athena and the Minoan supreme female deity – here one can cite in particular the traces of zoomorphism in descriptions of her appearance and her association with the aegis – goat-skin shield. Statues depicting a goddess holding snakes have also been found in Crete, and most Greek myths register a close connection between Athena and snakes. This becomes more convincing when we consider the functional similarity between the Minoan deity and Athena proper. Further, the author offers an archetype analysis of the image of the goddess, highlighting such archetypes as the warrior, patroness of women’s and men’s crafts, and the personification of wisdom. Archetype analysis plays a supporting role in the article, making it possible to investigate the evolution of the functional characteristics of the goddess. Thus we can say that, although the theonym of the goddess is of Indo-European origin, the essential roots of her image go back to the Minoan religion.
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Cutler, Wendy. "Voyage dans la culture indienne à travers quelques échantillons du cinéma bollywoodien." Voix Plurielles 11, no. 1 (April 30, 2014): 20–30. http://dx.doi.org/10.26522/vp.v11i1.914.
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L’objectif de cet article est de déchiffrer les codes spécifiques du cinéma bollywoodien afin de considérer le 7e Art comme une porte d’échanges ainsi qu’une porte d’entrée dans la culture de l’Autre. À travers l’étude d’une sélection de films populaires indiens des années 1970-80, nous souhaitons mettre en lumière la présence de symboles à caractère universel (la chaine, le couteau, le train, le labyrinthe) mais également la présence de symboles spécifiquement liés à la mythologie hindoue. Tout en gardant la mythologie comme fil conducteur, les films bollywoodiens nous permettent de trouver des passerelles entre les différentes civilisations. Néanmoins, cette étude nous permet également d’affirmer que ces films constituaient un outil d’apprentissage de la mythologie hindoue. En cela, les images filmiques témoignent de la façon dont le pays se voit lui-même, mais également de la manière dont il décide de se montrer aux autres.
A Journey in Indian Culture: a Study of a Few Samples of Bollywood Cinema
The aim of this paper is to decipher the specific code of Bollywood cinema in order to consider film as being an open window allowing a glimpse on a whole different culture. Throughout a study of a selection of popular films from the 1970s-80s, we wish to highlight the presence of universal symbols (chain, knife, train, labyrinth) but also the presence of symbols exclusively linked to Hindu mythology. Bearing in mind the important role of mythology in India, Bollywood films allow us to create links between different civilizations. However, this study also highlights the fact that Bollywood films are important tools in order to learn about Hinduism. These specific pictures show us how the country sees itself and how it chooses to show itself to others.
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Obertová, Zuzana. "Slavic Mythology Lost in Fantasy." Narodna umjetnost 59, no. 2 (December 20, 2022): 119–32. http://dx.doi.org/10.15176/vol59no206.
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Slavic myths increasingly survive in people’s consciousness as supernatural elements or as literary characters rather than as real beliefs in their existence. Adult readers in Poland and Slovakia, for example, encounter Slavic supernatural beings in the fantasy literature book series such as Wiedźmin by Andrzej Sapkowski and Černokňažník by Juraj Červenák; however, literature cannot be expected to portray superstitions and demons in the same way as belief legends. Placing Sapkowski’s and Červenák’s works within the context of ethnographically recorded beliefs illuminates various aspects of intercultural and intertextual relationships within the literary setting. This article shows that there are several types of literary adaptation of Slavic myths: adaptation in accordance with folk beliefs, denial of superstitions, incorporating a folk myth in order to create an illusion, and using the name of a demon while also adding characteristics from other sources – especially from popular culture.
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Shukurova Nigina Oripovna and Avezova Nigora Safarovna. "INTERPRETATION OF MYTH AND MYTHOLOGICAL IMAGES IN ENGLISH AND UZBEK LITERATURE." Middle European Scientific Bulletin 6 (November 12, 2020): 54–56. http://dx.doi.org/10.47494/mesb.2020.6.114.
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It is well known from the past that during their centuries-long history, the Turkic peoples have managed to create a multi-layered cultural heritage. One of them is the mythology of the Uzbek and English peoples, which is the product of primitive thinking. Mythology is one of the first examples of artistic thinking of our ancestors. It is the immortal memory of nations, the encyclopedia of knowledge, and the inexhaustible spiritual wealth.
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Varga, Stephanie T. "Cultivating Ecological Imagination with a Web-Based Mythology." Alberta Academic Review 4, no. 1 (July 5, 2021): 6. http://dx.doi.org/10.29173/aar126.
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This generative, theoretical descriptive paper, presents a framework I have designed to help teachers create on-line lessons that weave science from the curriculum into mythology. By mythologizing the curriculum, the teacher broadens the mindset of their students by allowing them to see the living-Earth as interconnected. This framework is timely, as many students are reacting to the policy around climate change, or absence of it, with fear and anxiety. The culminating artistic project of the digital game provides an opportunity for expression. It calls on the player to create a work of art that connects what they have learned from the game with their own experiences. The artistic project values the perspective of each contributor so that their anxieties can be heard. A direction for future research is a study that is embedded in a workshop for teachers. The workshop gives teachers an opportunity to learn about the framework while the study aims to learn about the myth-building experiences of teachers. The study follows the arts-based-research paradigm so that primacy can be given to the myths created by the teachers. As an exemplar of this framework, I present an on-line game I have created that connects several domains pertinent to the education of climate change including the personal, the social, and the scientific. The Google Sites game includes an assessment with instructions.
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Vasylyshyn, Igor P. "EXISTENTIAL IMAGES AND NARRATIVES IN RILKE`S POETRY (Bogdan Kravtsiv`s translation experience)." Alfred Nobel University Journal of Philology 2, no. 24 (December 20, 2022): 63–81. http://dx.doi.org/10.32342/2523-4463-2022-2-24-6.
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In 1947, in the German city of Nuremberg, Bohdan Kravtsiv`s book of translations from Rainer Maria Rilke`s “Things and Images” was published, which became a significant contribution to Ukrainian Rilkeanism. B. Kravtsiv`s translations were highly appreciated by critics and literary experts. The purpose of the article is the study of Rilke images and narratives in Bohdan Kravtsiv’s translations, the analysis of the main concepts related to the ideological and thematic layers of the lyrics that B. Kravtsiv chose for translation, and the highlighting of the existential discourse as a translation phenomenon that enabled him to introduce Rainer Maria Rilke’s poems in the Ukrainian artistic context. To achieve this goal, a number of methods were used: biographical (aimed at tracing Rilke`s spiritual and cultural ties with Ukraine during his journey through its territory), cultural-historical, philological, and intertextual. The phenomenological and hermeneutic analysis enables the study of existential discourse in Rilke`s lyrics and immanent interpretation in Kravtsiv`s translations of Rilke`s idiostyle and artistic-philosophical concepts. The elements of conceptual analysis make it possible to consider Rilke`s poetry in translations by Bohdan Kravtsiv, highlighting the main concepts that determine its cultural-artistic and existential-philosophical content. B. Kravtsiv paid particular attention to Rilke`s poems related to biblical and evangelical subjects: “Departure of the Prodigal Son”, “David Sings to Saul”, “Pieta”, “Resurrected”, “The Supper”. B. Kravtsiv translated a number of poems from ancient themes (“Sibyl”, “Orpheus. Eurydice. Hermes”, “Leda”, “Esther”, “Cretan Artemis”, “Alcestis”, “Islands of the Sirens”) since ancient mythology had an important place in Rilke`s artistic outlook. It’s a part of his artistic and metaphysical world, the heart of his existence. The metaphysical concept of the finitude of life evolved through all the lyrical-philosophical cycles of the Austrian poet, in which the lexical-semantic field of the concept of “death” is creatively implemented through ideas and motifs. Bohdan Kravtsiv translated several of Rilke`s poems “Experience with Death”, “Death of a Beloved”, and “The End”, in which the philosophical idea that the Italian existentialist philosopher Nicola Abbagiano defined as coexistence can be clearly traced. During the analysis of the artistic concept sphere and leitmotifs in Bohdan Kravtsiv`s translations, it is worth highlighting the nostalgia of the poetry “This is where the extreme huts are already”, the suggestiveness of “The Archaic Torso of Apollo”, the phantasmagoric nature of “The Sorcerer”, the existential elegiacism of “Evening”, the mysticism of “Alien”, the belief in the immortality of “Autumn”, the artistic plasticity of “Panthers”, the carnival enchantment of “Carousel”, the exquisite, subtle eroticism of “Ladies”, the magical fatalism of “Courtesy”, the metaphysics of life and death in “Experience with Death”, autobiography and delving into the subconscious in the poems “At the piano”, “From childhood”, the secret of art in “The Poet”, the young chivalrous romance of “The Boy”, the wild grace of “Cretan Artemis”. Conclusion. In the selected translations, Bohdan Kravtsiv managed to artistically recreate Rilke images, especially from ancient (Alquesta, Orpheus) and biblical (Jesus Christ, Mary Magdalene) themes, which appeared in the Austrian poet`s lyrics as archetypal images-symbols and images-ideas, defining the spiritual, philosophical and axiological basis of his creativity. Among the multifaceted conceptual sphere, Rilke chose Kravtsiv for the translation of poetry in which he substantiates the concept of “death” from an existential-philosophical point of view as a phenomenon of coexistence that changes one dimension of existence to another, which can also be traced in the narrative of the Austrian poet: death as “invisible and unenlightened we are the side of life”, – immanent in life itself. In the poems selected for translation, Kravtsiv managed to trace the path of the Austrian artist through catharsis to spiritual insight, self-awareness, and the search for authentic values of being. To introduce Rilke`s existential discourse into the Ukrainian artistic context, to give a number of translated poems a special national sound and philosophical content allowed the writer to work with the Ukrainian word, search and restore authentic books, archaic and dialect lexemes, occasionalism, which received a new sound in the translator`s artistic style, supplementing Rilke texts poetics. The translation activity of B. Kravtsiv became a significant contribution to the development of Ukrainian literature and culture in general, enriching it with ideas, concepts, artistic motifs, and the artistic word of one of the most brilliant modern poets – Rainer Maria Rilke. The analysis of Ukrainian writer’s poetic translations in the book “Things and Images” has the perspective of both literary and linguistic research and involves the creation of a thorough scientific work. While working on translations of Rilke`s poems, B. Kravtsiv, in his characteristic artistic and poetic style, uses a significant amount of book, archaic and dialect vocabulary, and occasionalism, which appear to him not only as artistic and aesthetic means of poetic expression, but are also filled with deep-rooted national meaning, contain the genetic code of an authentic Ukrainian word. Bohdan Kravtsiv managed to do Rilke translations so Ukrainian, because he felt the spiritual kinship of the Austrian poet with Ukraine and its people, that as an artist, philosophermetaphysician, and pantheist, having visited Ukrainian lands, he felt, understood, and realized the true spiritual and genetic roots of the European community.
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López Ramírez, Manuela. "Icarus and Daedalus in Toni Morrison's "Song of Solomon"." Journal of English Studies 10 (May 29, 2012): 105. http://dx.doi.org/10.18172/jes.183.
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In Song of Solomon Toni Morrison rewrites the legend of the Flying Africans and the Myth of Icarus to create her own Myth. Her depiction of the black hero’s search for identity has strong mythical overtones. Morrison rescues those elements of mythology black culture which are still relevant to blacks and fuses them with evident allusions to Greek mythology. She reinterprets old images and myths of flight, the main mythical motif in the story. Her Icarus engages on an archetypical journey to the South, to his family past, led by his Daedalic guide, on which he finally recovers his ancestral ability to fly. His flight signals a spiritual epiphany in the hero’s quest for self-definition in the black community.
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Geller, M. J. "Fragments of magic, medicine, and mythology from Nimrud." Bulletin of the School of Oriental and African Studies 63, no. 3 (January 2000): 331–39. http://dx.doi.org/10.1017/s0041977x00008429.
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A new volume of literary texts from Nimrud has been in gestation for a very long time. Tablets were first found in Max Mallowan's excavations at Nimrud in 1949, with many more tablets found in subsequent seasons. In 1963 the decision was made to publish all the literary tablets from the Nabû Temple in hand copy, and this effort has finally culminated in the form of Literary texts from the Nabû temple, edited by J. A. Black and D. J. Wiseman (Cuneiform Texts from Nimrud 4, 1998). As is so often the case with the publication of new literary texts, these copies often solve many problems and create just as many new ones for editors of texts; many of the copies could benefit from collation. Furthermore, the catalogue describing the tablets is extremely sparse, and much more could have been done by the editors to identify the tablets and note published duplicates. Nevertheless, the volume makes a valuable contribution to the field of Assyriology by publishing a large number of literary texts in cuneiform copy.
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Keeling, Diane Marie. "Colonizing cuts of labyrinth mythology, a tangling parable of white sensibilities." Communication and the Public 5, no. 1-2 (March 2020): 45–54. http://dx.doi.org/10.1177/2057047320950631.
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This article demonstrates the way wounds, and affects generally, are figured by the writing of history. It traces patterns of thinking about the labyrinth primarily in histories, theories, and myths of the past 150 years to demonstrate how the labyrinth has been cut by colonization. From the Mycenaean colonization of Indigenous Cretans (inaccurately named “Minoans”) to the emergence of white feminism and its present day practice, figures of the labyrinth iteratively cut history to perpetuate the un/common loss of colonized communities and to enact white racist sensibilities of exclusion. Entangling Karen Barad’s cutting together-apart and Kent Ono’s colonial amnesia, colonizing cuts are constitutive exclusions that wound and exclude colonized communities from history and world making.
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Coskuner-Balli, Gokcen. "Citizen-Consumers Wanted: Revitalizing the American Dream in the Face of Economic Recessions, 1981–2012." Journal of Consumer Research 47, no. 3 (January 8, 2020): 327–49. http://dx.doi.org/10.1093/jcr/ucz059.
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Abstract This article brings the sociological theory of governmentality to bear on a longitudinal analysis of American presidential speeches to theorize the formation of the citizen-consumer subject. This 40-year historical analysis—which extends through four economic recessions and the presidential terms of Ronald Reagan, Bill Clinton, George W. Bush, and Barack Obama—illustrates the ways in which the national mythology of the American Dream has been linked to the political ideology of the state to create the citizen-consumer subject in the United States. The quantitative and qualitative analysis of the data demonstrates 1) the consistent emphasis on responsibility as a key moral value, albeit meshed with ideals of liberalism and libertarianism at different presidential periods; 2) that the presidents iteratively link the neoliberal political ideology and the national mythology of the American Dream through a sophisticated morality play myth, wherein they cast the citizen-consumer as a responsible moral hero on a journey to achieve the American Dream; and 3) that the presidents use three main dispositives—disciplinary, legal, and security—to craft the citizen-consumer subject in their response to economic recessions. These findings extend prior consumer research on consumer subjectivity, consumer moralism, marketplace mythology, and politics of consumption.
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Geen, Jonathan. "Kṣṇa and his rivals in the Hindu and Jaina traditions." Bulletin of the School of Oriental and African Studies 72, no. 1 (February 2009): 63–99. http://dx.doi.org/10.1017/s0041977x09000044.
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AbstractThis paper compares the relationship between the vāsudeva Kr̥ṣṇa and his prativāsudeva rival Jarāsandha in the Jaina tradition (primarily in Hemacandra's Triṣaṣṭiśalākāpuruṣacarita) with Kr̥ṣṇa Vāsudeva's rivalries with Jarāsandha, Śiśupāla and Pauṇḍraka in the Mahābhārata and Hindu purāṇas. Three main points arising from this comparison are proposed. First, the Jainas conflated characteristics of the Hindu figures Jarāsandha, Śiśupāla and Pauṇḍraka in order to create a new Jarāsandha, who was now a single powerful nemesis for Kr̥ṣṇa. Second, this new relationship between Kr̥ṣṇa and Jarāsandha provided the template for a new class of Illustrious Beings (śalākāpuruṣas) in the Jaina Universal History: the recurring and paradigmatic vāsudevas and prativāsudevas. And third, this evolution of Kr̥ṣṇa mythology in the Jaina tradition may have influenced the parallel development in the Hindu tradition, including the creation of the vaiṣṇava ten avatāras doctrine, and the expansion of the purāṇic mythology surrounding both Jarāsandha and Śiśupāla.
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Gemza, Melinda. "Magánmitológiák Nagy József és Romeo Castellucci előadásaiban." Theatron 14, no. 4 (2020): 45–60. http://dx.doi.org/10.55502/the.2020.4.45.
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This paper explores and compares the threads of private mythology within the performances created for the stage of the Avignon papal palace by two original theatre creatives, József Nagy and Romeo Castellucci. Both of them primarily define themselves as visual artists, and they prioritise the visual within theatre. The image overrides the expression of the text, their performances do not represent, but create an independent world.
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ΜΑΡΙΟΛΑΚΟΣ, ΗΛΙΑΣ Δ. "The Geoenvironmental dimension of Greek Mythology." Bulletin of the Geological Society of Greece 34, no. 6 (January 1, 2002): 2065. http://dx.doi.org/10.12681/bgsg.17334.
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Native civilizations, as that of the ancient Greeks, are directly connected to the geological and the physicogeographical regime of the regional area in which they have been developed, and mainly to its geoenvironmental evolution since the last glacial period (18,000 BP). Volcanoes, earthquakes and mineral resources, as building materials, the underground water and the various minerals, consist the so called geological regime. Soil, climate, relief, shorelines and coastal areas belong to the physicogeographical regime of an area. The regional territory, where the prehistorical and historical ancient Hellenic civilization has been developed is the Hellenic Peninsula, Aegean Sea and the coasts of Minor Asia, from the geotectonic point of view, composing the Hellenic Arc which is characterized by intense tectonic, seismic and volcanic activity. The main factor contributing to the evolution of the Hellenic civilization is the climate and its fluctuations, mainly during the last 18,000 years, and most essentially the impact of these changes in the displacement of the shorelines and the coastal areas in general. It is widely known that climate changes periodically and that the main reasons for this periodicity are astronomical (Milankowitch theory). Thus, during Quaternary, several successive glacial and interglacial periods have been observed due to the increasing and decreasing of the solar radiation that earth receives. The last glacial period ends approximately 18,000 years BP, since, for the same astronomical reasons, earth's mean temperature abruptly increased. Due to this increase, huge volume of glaciers started to melt resulting to the release of large water quantities, which until that time were trapped within the glaciers, resulting in the gradual rise of the global sea level that, around 18,000 years BP, was about 125 m. lower than today. This rise caused successively transgression of all areas that nowadays constitutes the seafloor of Aegean Sea until a depth around 125 m. This transgression happened within a few thousands of years, namely between 18,000 and 6,000 years BP approximately. Therefore, prehistoric man who inhabited the area of the Aegean Sea, though until 18,000 years BP was living for tens of thousands of years in a geoenvironment unfavourable but more or less stable, following 18,000 BP and due to the increase of the mean temperature of the earth's atmosphere, he witnessed cosmogony changes. These especially concern the change of the coastal scene, since year after year, slowly but steadily, coastal areas are being submerged, featuring high mean velocities that under certain conditions should exceed 5 m per year. Together with these shoreline displacements if one takes also into account seismicity, volcanic activity and the related phenomena (tsunamis, abrupt uplift or subsidence of the coastal areas caused by earthquakes, landslides, rockfalls, etc.), the physicogeological scenery should have been a nightmare. The third generation of the Gods must have been originated during this period. This generation is the result of the union of Gaia (Earth), the Big Mother of all, and Ouranos (Heaven), namely Titans, Ekatoncheires, Cyclops and Giants, who might represent the destructive natural powers that terrify man and move the earth under his feet. What else than volcanoes might Giants represent, when, according to the Hellenic Mythology ".... they (the giants) breathed fire from their mouth ...." "...they were crying out wildly....", "they were shooting rocks and blazing trees in the sky "! ? Yet, Paleolithic and Mesolithic man needs to create more gods who will protect him from all these natural disasters. So, he originates the fourth generation that comes out of the union of the Titan Kronos and the Titanide Rhea. In this generation belong some of the great gods, such as Hera, Demeter, Estia, Hades, Poseidon and Zeus. The favorable climate ensures the basic nutrition species that man needs, either he is a food collector or he is a food producer, and especially without any particular effort. This means that it allows prehistoric man to have enough free time. Especially after his inhabitance in towns, he may be continuously mobile in the open space and he may communicate with other men having free time as well. In order to attitude within his small society, he has to learn to discuss, to argue, to oppose, to agree or to disagree with his co-speakers. Yet, all these constitute the basic substantial features of Democracy. All these physicogeographical and geological changes of the mythological and the prehistorical, in general, era, that have determined directly or indirectly all partial settings and the evolution of the civilization itself, should be promoted in such a way that the relationship between physicogeographical environment and civilization should be primarily introduced.
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Plotichkina, N. V. "Media mythology of the social in the contemporary society." RUDN Journal of Sociology 20, no. 2 (December 15, 2020): 239–51. http://dx.doi.org/10.22363/2313-2272-2020-20-2-239-251.
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The article considers the media mythologization of the social: the media create representations of the world as a place for power struggle and suggest various versions of sociality which are legitimized in mythical narratives. Academic arguments emphasize the complexity of the social, the necessity of its theorization and dereification in the digital context. The study of the social/media dialectic reveals three myths - of natural collectivity, of the mediated center and of big data. The myth of the mediated center is a double construct: a narrative about the center of knowledge, values and meanings in society which produces normative or descriptive truth; and a mythical narrative of the media as representing society to its members and having a privileged access to the center of the social reality. This myth legitimizes the symbolic power of the mass media and is supported by rituals. The myth of us aims at naturalizing the network sociality, convincing users of the naturalness of its contacts, interactions and communities, providing the sense of cohesion and constructing a digital identity. The myth of us is a narrative about collectivity determined by the joint efforts of users and designers of social platforms. This myth hides the decay of the social in the digital reality and indicates its media-mythical compensation. Big data represent new landscapes of objects, methods of cognition and definition of sociality. Big data is not only a source of knowledge, innovation and change but also a mythology which should be critically examined. The article considers different approaches to the analysis of big data mythology developed within the interpretation of digital artifacts as a reflection of the social context and the best form of social knowledge. This myth presents its version of sociology - with new epistemology, ethics and methodology - and hides other sources of knowledge about sociality in the digital media (mythologizes data policy (agency), economies, ethics and epistemologies).
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Shirkhani, Mohammad Amin. "Self-mythology Through Trauma Studies in Paul Auster’s Invention of Solitude." International Journal of Applied Linguistics and English Literature 9, no. 1 (January 31, 2020): 67. http://dx.doi.org/10.7575/aiac.ijalel.v.9n.1p.67.
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Auster’s first novel The Invention of Solitude was significant, in that it not only catalogued his own experiences, but also provided one of the earliest examples of the psychological processes involved in trauma and memory storage. It demonstrates the self’s psychological use of the Ego, in a classical sense, to negotiate between emotional response and reality, in order to create meaning around a set of events. More specifically, the death of Auster’s father operates as a catalyst for the author’s journey of self-discovery, which is richly tied to the psychoanalytical principles of Freud and Lacan, and which ultimately allows him to fully appreciate his experience of loss, by supporting the wish fulfillment related to his relationship with his father, and his need to understand the rejection he perceives suffering as a child. This highlights the difference between the inner child’s ego-centric or narcissistic perception, and the adult’s ability to rationalize, especially as it relates to memory and unfulfilled need.
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Soto, Boris Briones. "La religión mapuche según los cronistas de Indias." Anthropos 117, no. 1 (2022): 107–16. http://dx.doi.org/10.5771/0257-9774-2022-1-107.
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This article deals with the Mapuche religion as seen by Spanish chroniclers who wrote about the indigenous peoples of Chile. In these documents, we find numerous religious elements that help us understand the mythology and beliefs of the Mapuche at the beginning of the conquest. Addressing the subject of his study, the author analyzes the works of those chronicles in order to create a general panorama of their vision of indigenous religions, taking into account certain methodological problems that such study entails, e.g. religiocentrism and religious syncretism.
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Walsh, Richard. "The Gospel According to Judas: Myth and Parable." Biblical Interpretation 14, no. 1-2 (2006): 37–53. http://dx.doi.org/10.1163/156851506776145832.
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AbstractJesus films improve the Judas story by adding plot connections and amplifying Judas' character, but their Judases reprise "the Gospel according to _" pattern. Like Jewison's Judas, they all are part of the adoring Christian chorus. Films' selective uses of the gospel Judas incidents intensify the gospel exclusions. Judas remains the traitorous disciple who deserves his fate. Films' visuals continue the iconography of art and create interlocking scenes associating Judas with Jesus' opponents. While some films motivate Judas traditionally, others modernize Judas' motivation in order to create a simulacrum of a modern person. Regardless, Judas remains the mythic other whose exclusion separates us from the evil that we do not wish to accept as part of our self-identity. Films' Judases define what "we" are not. We can arrange the Judases of Jesus films into four types: a traditional Judas, a modern, human Judas, a Christ-figure Judas, and a parabolic Judas. The first two Judases are clearly part of Christian myth-making. While the Christ-figure Judas may suggest an antimyth opposing the Christian myth, it ultimately supports Christian mythology as well. Only the parabolic Judas contests the continuing power of Christian discourse by telling stories alongside "the gospel" story. The parables of Arcand's Daniel and Jones's Brian suggest a view askew on Christian discourse that invites us to read other Jesus films and the gospels themselves parabolically and to find the evil lurking and the "dark night of story" within Christian mythology.
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Fischer, André. "Deep Truth and the Mythic Veil: Werner Herzog's New Mythology in Land of Silence and Darkness." Film-Philosophy 22, no. 1 (February 2018): 39–59. http://dx.doi.org/10.3366/film.2018.0061.
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This article begins with Werner Herzog's programmatic statements on new images and deep truth and connects it to ideas of Nietzschean aesthetics, mainly the Apollonian image and the Dionysian horror. My main argument is that Herzog contributes to the literary and aesthetic tradition of new mythology within the medium of film by developing a distinct visual language that tries to express non-rational truth claims. In a first step I explore how Nietzschean aesthetics influenced the debates about the mythic image and total cinema in classic film theory and visual studies. More importantly I show how the desire to create new mythic images not only influenced Herzog's discourse on film, but his actual aesthetic practice. In my analysis of his 1971 documentary Land of Silence and Darkness (Land des Schweigens und der Dunkelheit) I show how the dynamic between Apollonian veil and Dionysian Urbild (original image) is effective in the construction of what Herzog calls “deep truth”. This article attempts to shift the focus away from the fact-fiction debate surrounding most of Herzog's documentaries and to concentrate instead on framing Herzog's claims of non-rational truth theoretically and locating his work in the aesthetic tradition of new mythology.
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McReynolds, Clayton. "Yeats's Barfieldian Rebellion: Locating Yeats's Synthetic Symbolism in Barfield's Evolution of Consciousness." Journal of Inklings Studies 8, no. 1 (April 2018): 65–82. http://dx.doi.org/10.3366/ink.2018.0004.
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In this paper, I draw on Barfield's theory of the evolution of consciousness and language to argue that William Butler Yeats employs language in his poetry in a way which resembles the older, ‘organic’ poetry Barfield describes. I observe how Yeats's ‘concrete’ understanding allowed him to weave a rich web of meaning into his poetry without feeling confined by T.S. Eliot's ‘dissociation of sensibility’. Many of Yeats's Modernist contemporaries struggled to bridge a perceived gap between thought and feeling, but Yeats's view of the world as innately symbolic allowed him to use language both literally and symbolically at once, speaking simultaneously of a literal rock, a symbol for stasis, and an emblem of the idée fixe. Thus, Yeats creates, in Barfield's terms, ‘organic’ poetry where the multilayered meanings arise naturally from Yeats's understanding. I further note how Yeats attempts to create a mythology in A Vision that would function much as Barfield describes mythology operating in ancient, concrete societies. Through this study, I hope to illuminate both the interconnectedness of Yeats's symbolic metaphysic and poetic technique and the relevance of Barfield for understanding Yeats and, perhaps, other poets finding new ways to communicate through an evolving language.
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Artamonov, Denis Sergeyevich, and Svetlana Mikhailovna Frolova. "Internet Meme in the System of Social Mythology of the Digital Age." Общество: философия, история, культура, no. 11 (November 13, 2020): 13–17. http://dx.doi.org/10.24158/fik.2020.11.1.
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The paper discusses the place of Internet memes in the structure of the social mythology of the digital world. The authors understand the Internet meme as a communication phenomenon. They characterize it as an online miniformat genre. An Internet meme integrates an image with an ironic text caption for a concise assessment of a situation, state or phenom-enon and visualization of reality. The myth is em-bedded in the semantic structure of the meme, which spreads it to large audiences. In the post-truth era, Internet memes are not only retransmitters of myths, but also actively create a new social my-thology, allowing network users to interpret reality in accordance with their worldview, laid down by mass culture. As a result, the myth becomes a fake, and the Internet meme becomes an effective way of spreading it. Analyzed memes “Karl!” and “The Wrong Guy” as examples of modifying archaic myths and constructing a new social mythology, as well as memes “Ivan the Terrible kills”, “Peter I and Shrek”, “Lenin is a mushroom” as confirmation of the thesis about the transformation of political and historical myths into a fake form.
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Kim, Suh Yoon. "Representation of Greek Mythology in History Textbooks of Greek Primary schools." Journal of Literary Education, no. 1 (December 8, 2018): 151. http://dx.doi.org/10.7203/jle.1.12268.
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This article aims to highlight the representation of Greek mythology in Greek primary textbooks and the educational purpose of this representation, which includes macroscopic rearrangement, modification of individual texts, and addition of ancillary materials. In Greek primary schools, third graders begin to learn mythology in the introductory part of the subject History. The educational aspect of mythology in textbooks focuses on heroes being represented as exemplary models for teaching values to children. The texts reflect modern metanarrative of individualism, which teachers and parents consider important for children to learn. In its entirety, the textbook repeats each hero’s fighting spirit and struggles (macroscopic metanarratives). In addition, each story is modified to manifest only the hero’s individual accomplishments, concealing their negative aspects, and underestimating the influence of social contexts such as gender discrimination (modification of individual texts). Moreover, the pictures and maps, present in the textbooks, create an image of “timeless Greece” as it traces the movements of the heroes. These materials help young students connect the heroes’ world with their own. Activities and questions also help children adopt heroes as familiar role models (paratextual and visual elements). In conclusion, mythology in Greek primary school History textbooks function as an effective tool to teach the value of individualism to children.
Key words: Greek mythology education, metanarratives, heroes, individualism, identification
Resumen
La intención de este artículo es resaltar la representación de la mitología en libros de texto griegos y la intención educativa de esta representación que incluye la reorganización y la modificación de textos individuales y la incorporación de material secundario. En los libros de texto griegos, el alumnado de tercero empieza a aprender mitología en la parte introductoria de la asignatura de Historia. El aspecto educativo de la mitología en los libros de texto se focaliza en los héroes, que son representados como modelos ejemplares para enseñar valores a los niños y niñas. Los textos reflejan metanarrativas modernas individualistas, que tanto el profesorado como las familias consideran importante enseñar al alumnado. En general, el libro de texto repite el espíritu de lucha y prueba (metanarrativa macroscópica) de cada héroe. Por otro lado, cada historia se modifica para manifestar solo los logros individuales del héroe, ocultando sus aspectos negativos y minusvalorando la influencia del contexto social tal como la discriminación de género (modificación de textos individuales). Además, las ilustraciones y mapas presentes en estos materiales crean una imagen de “Grecia intemporal” según se trazan los movimientos de los héroes. Estos materiales ayudan al joven estudiantado a conectar el mundo de los héroes con el propio. Las actividades y preguntas también ayudan al alumnado a adoptar los roles y modelos familiares (elementos paratextuales y visuales). En conclusión, la mitología en los libros de texto griegos de Primaria funciona como una herramienta útil para el aprendizaje del valor del individualismo.
Palabras clave: Educación en mitología griega, metanarrativas, héroes, individualismo, identificación
Resum
La intenció d’aquest article és ressaltar la representació de la mitologia en llibres de text grecs i la seua intenció educativa que inclou la reorganització i la modificació de textos individuals i l’afegit de material secundari. Als llibres de text grecs, l’alumnat de tercer comença a aprendre mitologia en la part introductòria de l’assignatura d’Història. L’aspecte educatiu de la mitologia als llibres de text focalitza en els herois que són representats com a models exemplars per tal d’ensenyar valors als infants. Els textos reflecteixen metanarrative modernes individualistes que professorat, pares i mares, consideren important d’ensenyar als infants. En general, el llibre de text repeteix l’esperit de lluita i prova (metanarrativa macroscòpica) de cada heroi. D’altra banda, cada història es modifica per manifestar només les fites individuals de l’heroi, tot amagant els seus aspectes negatius i menyspreant la influència del context social tal com la discriminació de gènere (modificació de textos individuals). A més a més, les il·lustracions i els mapes presents en aquests materials, creen una imatge de “Grècia intemporal” segons es delinea els moviments dels herois. Aquests materials ajuden el jovent a connectar el món dels herois amb el propi. Les activitats i preguntes també ajuden a l’alumnat a adoptar els rols i models familiars (elements paratextuals i visuals). En conclusió, la mitologia als llibres de text grecs de Primària funciona com una eina útil per ensenyar el valor de l’individualisme als infants.
Paraules clau: Educació en mitologia grega, metanarratives, herois, individualisme, identificació
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А. K. Khussainova, К. T. Tulebayeva, and B. M. Kadyrova. "CONCEPTUAL FEATURES OF THE IMAGES OF «WOMEN» IN TURKIC MYTHOLOGY." Bulletin of Toraighyrov University. Philology series, no. 4.2022 (December 30, 2022): 282–94. http://dx.doi.org/10.48081/dcck8920.
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"When studying the concept of «woman» in Kazakh literature, first of all, we take into account that the concept of concept is a complex structure transmitted by the ethno-cultural concept of a centuries-old idea of being, cultural values, short and deep truths transmitted from generation to generation, stored in our consciousness. In order to become a concept of conceptuality, it is necessary that the words used by the people have a close connection with the centuries-old culture, traditions, religion, mentality of this people, have an ethno-cultural degree. Speaking about the concept of «woman», it is necessary to distinguish these ethno-cultural characteristics. The article is aimed at identifying and studying conceptual concepts related to the image of a «woman» in Turkic mythology, including in Kazakh folklore. At the same time, identifying the ancient Turkic mythological «female» images, we tried to highlight their functions in the formation of modern «female» concepts. First of all, the «female» images in ancient history were identified and the characteristic features of each of them were classified. If such images as Tomiris, Queen Zarina, Elbilge-khatun were the starting point for the formation of the concept of «warrior», then the wolf in the legend of the Turkic history of creation served as the basis for the formation of ideas about «mother wolf» and «generation of the blue wolf». The fact that the opening of the door to the world of light by man is connected with the female substance gave rise to the conceptual concepts of «The Virgin», «Creator», «Light», «Mother Earth». The images of «women» in folklore samples also create complex semantic constructions. The creation of a historical description of the concept of «woman» will undoubtedly make it possible to highlight the internal cognitive structure of the modern conceptual system of «woman». "
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Farahbakhsh, Alireza, and Narges Yeke Yazdani. "METAFICTITONAL NARRATIVE QUALITIES OF CHIMERA." International Journal of Research -GRANTHAALAYAH 6, no. 12 (December 31, 2018): 168–90. http://dx.doi.org/10.29121/granthaalayah.v6.i12.2018.1105.
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This paper seeks to discern the narratological aspects of John Barth's famous essay titled “Literature of Exhaustion” in narrative qualities of his own novel, Chimera. Different narrative elements are discussed in the process of reading the essay; they include “The Construction and Deconstruction of Illusions in Chimera”, “The Orchestration of Polyphony of Voices”, “The Decadence of Mythology” and “Barth’s Success in the Pedagogy of Writing”. Each concept will be discussed in a separate section. The first section aims to discuss the concept of metafiction. Barth tries to represent the clash between real and represented worlds to confirm the fact that the boundary between reality and fiction becomes vague in the process of the novel. The second section focuses on "Heteroglossia" as one of the major themes of the novel. All of the characters represent Barth's voice in Chimera. The third section examines the influence of mythology and its decadence. The author attempts to advance a new method of writing by the traditional mimic forms and intertexual games. The last section intends to examine Barth's pedagogy of writing. He tries to create new fictions out of what already has been said in the world of fiction. The article concludes that Chimera is a rich postmodern novel that can be a role-model for writers to avoid originality and writer's block in writing.
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Cooper, Samuel, and Shlomo Guzmen-Carmeli. "The Structure of Change: A Structural Interpretation of the Biblical Story of Joseph." Religions 11, no. 1 (December 21, 2019): 8. http://dx.doi.org/10.3390/rel11010008.
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In recent years, theories of structuralism in anthropology are being re-examined. This article uses structural analysis to create an anthropological interpretation of the Joseph story in the Bible and to evaluate its modes of interpretation and how it influences the formation of Jewish religious practices. The structural interpretation shows how stories serve as models for the process of cultural creation. In the case of Joseph’s story, the narrative creates a mythology but also a recurring operational infrastructure that echoes in different contexts: in ethical actions, in halachic perception, and in the foundation of various practices in Judaism including concealment and removal, covering and disrobing, that appear repeatedly and function as structures that signify and enable change.
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Serafin-Wicher, Aleksandra. "Nazwy trumien w polskich zakładach pogrzebowych." Słowo. Studia językoznawcze 12 (2021): 157–70. http://dx.doi.org/10.15584/slowo.2021.12.15.
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The aim of the article is to analyze semantic names of coffins. Onomastic material includes 102 names taken from the funeral home web pages and from the survey that was carried out by people working in funeral industry. The collected material comes from the period 2019–2022. The analyzed names of coffins were classified into 12 meaning groups. Out of them the most popular are the names originating from mythology, e.g. “Trumna Hades”, shape of the products, e.g. “Trumna Łodka” or even from particular countries, e.g. “Trumna Amerykanka” that were created through the process of transonimisation or onimisation. In article the author tries to create a typology of the coffin names that were produced in Poland.
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Kulyapin, Alexander I. "Alcohol in the Everyday Life of the Soviet North of the 1930s." Critique and Semiotics 10, no. 2 (2022): 351–63. http://dx.doi.org/10.25205/2307-1737-2022-2-351-363.
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In the sometimes unbearable living conditions in the Arctic, the use of alcoholic beverages and hallucinogens is the only way to escape from the harsh reality. Alcohol can create the illusion of easily overcoming any obstacles and difficulties. Since the main enemy of man in the North is cold, the mythology of alcoholic “warming” is especially relevant for polar explorers. Within the framework of the Soviet Arctic utopia, it is important to take alcohol beyond commodity-money relations. In the North, the strangest transmutations of matter become reality. The Arctic is a kind of anti-world, where everything turns into its opposite. For example, the participants of the expedition “North Pole – 1” had to distill cognac into alcohol.
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Gagliardi, Caio. "O Último Exílio de Jorge de Sena: Em Creta, com o Minotauro." Revista do Centro de Estudos Portugueses 34, no. 51 (June 30, 2014): 11. http://dx.doi.org/10.17851/2359-0076.34.51.11-24.
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<p>A experiência de deslocamento de um dos principais escritores portugueses do século XX, Jorge de Sena, é ao mesmo tempo uma experiência biográfica e literária. Seu duplo exílio no Brasil e nos Estados Unidos é incorporado por sua escrita a ponto de elevar o exílio a um estado poético. A emancipação das fronteiras nacionais, a errância e o sentimento de alienação levam o poeta a sonhar com um exílio perfeito, um último exílio ou um estado de escrita permanente: em Creta, tomando café com o Minotauro. O Minotauro é seu verdadeiro duplo na mitologia. Essa transição para o universo do insólito significa uma abertura muito expressiva de sua poesia para mundos desconhecidos, e é inseparável da experiência de expatriação vivida por Jorge de Sena.</p> <p>L’expérience du déplacement d’un des principaux écrivains portugais du XXe siècle, Jorge de Sena, constitue à la fois une expérience biographique et littéraire. Son double exil au Brésil et aux Etats-Unis est incorporé par son écriture au point d’élever l’exil à un état poétique. L’émancipation des frontières nationales, l’errance et le sentiment de déracinement conduisent le poète à rêver d’un exil parfait, un dernier exil ou un état de permanent écrit: en Crète, en sirotant un café, avec le Minotaure. Le Minotaure est son véritable double dans la mythologie. Ce passage à l’univers de l’insolite signifie une très importante ouverture de sa poésie vers des mondes inconnus, et c’est indissociable de l’expérience du dépaysement vécue par Jorge de Sena.</p>
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Apene, Dickson N. "Intertextuality: Allusion, Convention and Transformation in The Oresteia and Mourning Becomes Electra." Global Academic Journal of Linguistics and Literature 4, no. 4 (August 16, 2022): 97–104. http://dx.doi.org/10.36348/gajll.2022.v04i04.004.
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This article aims to show the relationship between the plays of O’Neill and his European counterpart, Aeschylus. O’Neill subscribes to Greek mythology but modifies or transforms it in the American scenario. Our study of the plays has considered the way meanings are constructed by a network of cultural and social discourses which embody distinct codes, expectations and assumptions. Besides, the thematic and linguistic similarities and differences between the works of the European and that of the American author selected have enabled the researcher to have an insight into literary influences and affinities. This article has demonstrated that there is no end in the making of texts, as O’Neill has revisited classical literature to write his play, Mourning Becomes Electra. This paper argues that intertextuality must not be limited to influences as Aeschylus had no direct influence on O’Neill though O’Neill rewrites his play The Oresteia. Both writers have no biographical similarities nor do they come from the same generations. O’Neill alludes to Aeschylus’s Greek mythological form of play writing but transforms it into the American scenario, through American Realism. To analyse these plays, the critical approach used was Postmodernism since interetxtuality is the major tenet of postmodernism. The paper concludes that, although O’Neill subscribes to Greek mythology, he deviates from European playwrights of this dramatic convention. His work has aspects of American Realism, and he is equally a social critic who writes about the ills that plague his society, in order to create awareness in his countrymen.
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Fielder, Elizabeth Rodriguez. "Stowaway stories and mythological realism in Yuri Herrera’s Signs Preceding the End of the World and Mohsin Hamid’s Exit West." Crossings: Journal of Migration & Culture 12, no. 1 (April 1, 2021): 331–46. http://dx.doi.org/10.1386/cjmc_00035_1.
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This article examines how contemporary authors writing about migration turn to fantastic, spectral and mythical elements when writing about passages of transit. I turn to narratives written by Yuri Herrera and Mohsin Hamid and explore how these authors use mythology and magic to resist telling a ‘true’ story, creating what I call a stowaway aesthetic that hides away other stories in its narrative. By stowing away information and misrepresentation through magic, these authors create impossible stories that attend to archival silences. They enact a resistance against the ways in which the state extracts and polices narrative in the process of asylum-seeking. I argue that in the moments in which authors eschew realism, they direct the reader’s attention to the unknowable aspects of migrant lives that constitute an absent presence in the process of migration.
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Khoddam, Salwa. "The God Amor, the Cruel Lady, and the Suppliant Lover: C.S. Lewis and Courtly Love in Chapter One of The Allegory of Love." Journal of Inklings Studies 3, no. 2 (October 2013): 153–81. http://dx.doi.org/10.3366/ink.2013.3.2.9.
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Lewis’s “effort of the historical imagination” in The Allegory of Love: A Study in Medieval Tradition—commensurate with his innate romanticism—bolstered by like-minded writers as his sources, resulted in his reconstructing of Courtly Love and its characters as a fantasy. While this approach limited his understanding of Courtly Love, its origins and its relationship to marriage and adultery, it allowed him to create a mythology of a Religion of Love: a “quasi-religion” of “service love” between a chevalier/poet and his sovereign lady, under the auspices of the god Amor. This view would elevate the medieval Anglo-French allegorical poem, which he will discuss in the following chapters of his book, as the foundation of the best of poetry that led to Chaucer and Edmund Spenser, his favorite poet.
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Byrne, Deirdre. "NEW MYTHS, NEW SCRIPTS: REVISIONIST MYTHOPOESIS IN CONTEMPORARY SOUTH AFRICAN WOMEN’S POETRY." Gender Questions 2, no. 1 (September 21, 2016): 52–66. http://dx.doi.org/10.25159/2412-8457/1564.
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Considerable theoretical and critical work has been done on the way British and American women poets re-vision (Rich 1976) male-centred myth. Some South African women poets have also used similar strategies. My article identifies a gap in the academy’s reading of a significant, but somewhat neglected, body of poetry and begins to address this lack of scholarship. I argue that South African women poets use their art to re-vision some of the central constructs of patriarchal mythology, including the association of women with the body and the irrational, and men with the mind and logic. These poems function on two levels: They demonstrate that the constructs they subvert are artificial; and they create new and empowering narratives for women in order to contribute to the reimagining of gender relations.
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Zelykovsky, Alexey. "Structure, Properties and Functions of Political Myth." Logos et Praxis, no. 3 (December 2019): 18–24. http://dx.doi.org/10.15688/lp.jvolsu.2019.3.2.
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The paper reveals the structure, properties and main functions of modern political myth, in addition, it analyzes the relationship between modern and archaic myths. The basis of modern political myths is rationalized and expressed in symbolic form mythological archetype. Despite the fact that archaic mythology as an integral system of worldview is rationalized, desacralized and destroyed, mythological archetypes retain their social significance. That is, political myths are the result of rationalization and symbolic interpretation of mythological archetypes. The article describes the main symbols-archetypes being invariably present in political discourse. For example, the hero archetype symbol is used to create heroic political myths. This group of myths is necessary for the formation of the image of a political leader. The representation of a political leader in accordance with the symbol-archetype of the hero significantly increases his capabilities and powers. The symbol-archetype of the Golden age is used to construct the image of the ideal social and political system. This archetype is especially actively exploited in various utopian and revolutionary projects. The symbol-archetype of the Great Mother, also actively used by modern mythology, forms ideas about their native land and country creating a sense of unity and cohesion. Since archetypal symbols retain their social significance, political myths, by reproducing them, perform important social functions. Shaping a special symbolic and semantic reality modern myths perform the main function – meaning making. Modern political myths carry out their functions by acting on the unconscious level, thereby causing certain emotional experiences and pushing the masses to the required actions. Thus, it can be concluded that political myths are an integral component of modern social and political practice.
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Iswantara, Nur. "A Play Of Performance Waktu Batu Yogyakarta Teater Garasi In The Dramaturgi Study." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 4, no. 2 (October 18, 2021): 51–66. http://dx.doi.org/10.31091/lekesan.v4i2.1757.
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The title of the paper of Play of Performance Waktu Batu (WB) Yogyakarta Garasi Teater (TGY) in this Dramaturgy Study is a summary of research results at the Yogyakarta Institute of Indonesian (ISI) Research Institute in 2014. Research in dramaturgy studies uses the dramaturgy theory of George Kernodle & Portia Kernodle (1978 ). Kernodle states that in dramaturgy there are six possible dramatic values that can help arrange the unity of theater performances. The six dramatic values include plot, character, theme (structure), and dialogue, atmosphere and spectacles (texture). One of TGY’s inspirational works, namely the WB performances sourced from Javanese mythology: Watugunung, Murwakala, Sudamala and Late Majapahit History, became an aesthetic presentation especially “Waktu Batu” The Stories that Meet in the Ruang Tunggu’ (WB1) will be analyzed with a dramaturgy approach which includes structure: plot, character, theme, and texture: dialogue, atmosphere and spectacles. The results of analyzing the structure consisting of plots, characterizations and themes; texture: dialogue, mood and spectacle performance of WB 1, showing that TGY belongs to a theater group that positions as a ‘theater creation laboratory’ having a unique aesthetic concept, which is typical for building eclectic dramaturgy. The eclectic drama in the Indonesian contemporary theater scene, an TGY effort to create a WB 1 play originating from Javanese mythology: Sudamala, Murwakala, Watugunung and the late history of Majapahit so that it becomes an aesthetic presentation that can be enjoyed by the audience. TGY group can survive more than 20 years. In fact in Indonesia there are not many contemporary theater groups that can survive long enough. Every TGY staging is always in demand by the audience as the WB 1 play shows.
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Walker, Randi Jones. "Liberators for Colonial Anáhuac: A Rumination on North American Civil Religions." Religion and American Culture: A Journal of Interpretation 9, no. 2 (1999): 183–203. http://dx.doi.org/10.1525/rac.1999.9.2.03a00030.
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Behold here the motives of that mysterious likeness which give merit to a comparison with Jesus in the work the Supreme Author confided to [Hidalgo]: to save the American people, the continent of Anáhuac!So spoke Padre Antonio Jose Martinez in 1832 in praise of Miguel Hidalgo on the tenth anniversary of the independence of the Republic of Mexico. That same year, Francis Gray extolled George Washington, the hero of another independence movement. Washington was the “Special instrument of divine providence for working out our political salvation, the cloud by day and pillar of fire by night which led us out of bondage.” Two new North American nations attempted to create a national identity and a useable mythology, side by side, if independent of each other. In this essay, I present a North American view of what could loosely be called civil religion.
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P, Kamalakannan. "Thanthai Periyar's Humanistic Principles." International Research Journal of Tamil 4, S-5 (July 13, 2022): 81–88. http://dx.doi.org/10.34256/irjt22s512.
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Father Periyar was a great personality of Tamil Nadu. Who developed a theoretical definition of the struggle for social justice? Periyar's ideas will give a new impetus not only to yesterday, but also to future activists. This article is written to highlight Periyar's views, especially on art, literature and culture, and to raise awareness for future generations. This article examines Periyar's humanitarian theory, Periyar's unique contributions to the struggle for social justice, and Periyar's views on art literature. It seeks to explain the purpose for which Periyar worked to create a harmonious society, and how he historically assessed the culture, worship traditions, and mythology of Tamil Nadu. This study addresses the need for the development of periology as a theory from a sociological perspective. Thus, this study seeks to establish that Periyar is the one who belongs to all time.
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Dubey, Swasti. "Factual Origins of Myths." International Journal of Social Science And Human Research 05, no. 10 (October 12, 2022): 4491–93. http://dx.doi.org/10.47191/ijsshr/v5-i10-11.
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Many cultures have developed myths and legends rooted in the ideas of vampirism, lycanthropy, and witchcraft. According to anthropological currents, these stories don’t come up from nothing, but follow a process of transformation of elements drawn from real experiences eventually transformed into fictional stories depending on the message they are meant to spread. Every legend has an origin in history, an event with no plausible explanation at the time due to lack of scientific technology and resources. Although, reality can be described in scientific terms. These possible facts connected to mythology do not entirely explain the success of myth in folklore, but only some more or less impressive aspects following these legends. These facts when turned and twisted by imagination and superstitious thinking create these inexplicable enthralling stories which undoubtedly would be passed down to generations as souvenirs of history, culture, and civilization.
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Barnard, Timothy P. "Commemorating Raffles: The creation of an imperial icon in colonial Singapore." Journal of Southeast Asian Studies 50, no. 4 (December 2019): 579–98. http://dx.doi.org/10.1017/s0022463420000077.
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While Sir Thomas Stamford Raffles led the expedition that founded colonial Singapore in 1819 and conceptualised many of the early institutions that developed the trade port, it was the depiction and commemoration of his time in the region that made him an icon of imperial mythology. This was part of a process in which admiration of his name and exploits were exalted, ultimately representing a core element in the Victorian mentality, the need to create heroes to glorify the British Empire. This article will survey and analyse how the commemoration of Raffles in the first 75 years of colonial rule, through the commissioning of statues and the attachment of his name to establishments and institutions, solidified and justified a British presence in the region and larger imperial history, which continues to echo in the modern nation-state of Singapore and its history.
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Ishchenko, Nina. "Demiurge and Sophia in the world of Star Trek: gnostic ideas in the film «USS Callister»." Semiotic studies 2, no. 2 (July 5, 2022): 11–18. http://dx.doi.org/10.18287/2782-2966-2022-2-2-11-18.
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The article analyzes the plan of expression and the plan of content of the American film USS Callister (2017) using the structural-semantic method. Four levels of analysis of signs in cinema are considered: three types signs that make up the characterological trait of a personality, referring to a character understood as an individuality, which in turn is a symbolic expression of a myth. In the film text USS Callister the gnostic images of the Demiurge and Sophia are created by means of cinematography, and such gnostic ideas as the hierarchy of the worlds, the abhorrence to flesh, souls life in the material world under the reign of the evil demiurge and the salvation-destruction of the world by Sophia, have been implemented into the plot. The film also refutes the gnostic idea that the God of the Old Testament is the evil demiurge of the gnostic cosmos via semantic mimicry. The film visualizes the gnostic mythology about two Sophias, earthly and heavenly, whose reunion marks the destruction of the material world and the humiliation of the Demiurge. The protagonist of the film a genius programmer Robert Daly, who has created еру the modding of Boundlessness on his PC, in which he has reconstructed the Callister starship. The crew has been created using the Daly co-workers DNA to create sentient digital clones of them. When Nanette Cole, a genius female programmer, who has been copied into the above-mentioned modding, she is able to get in touch with her celestial incarnation, execute a break plan and, as the result, the whole artificial world is destroyed together with the demiurge. The film recreates gnostic mythology for an audience thinking in terms of 20th century American culture, and more specifically in the famous sci-fi franchise Star Trek.
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Sharpe, Ashley E. "A REEXAMINATION OF THE BIRDS IN THE CENTRAL MEXICAN CODICES." Ancient Mesoamerica 25, no. 2 (2014): 317–36. http://dx.doi.org/10.1017/s0956536114000297.
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AbstractEduard Seler's 1909 analysis of the various birds and their associated symbolism in the Mexican codices is one of the most thorough undertakings of its kind; however, although numerous revelations have been made in the realm of codex research over the past century, no comprehensive attempt has been undergone to revise Seler's initial identifications. The present study reviews the major bird species from Seler's original essay. Seven codices from the Borgia and Aztec Groups are assessed, so as to compare species traits and symbolic representations between both regions. The study incorporates recent research on the central Mexican codices, symbolism, myths, and ethnohistoric accounts, in addition to discoveries made over the last century in the fields of ornithology and zooarchaeology, in order to revise the identifications made in Seler's original work and to create a more comprehensive review of the roles each of these birds played in ancient Mexican mythology.
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López, César. "Mexican American Parrhesia at Troy." California History 98, no. 1 (2021): 28–55. http://dx.doi.org/10.1525/ch.2021.98.1.28.
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In the late 1960s, Mexican American and Chicana/o students and faculty began to create new cultural and academic spaces at the University of Southern California (USC). As outspoken advocates, they promoted a collective social identity as they questioned USC’s commitment to fulfilling the moral and humanistic responsibilities of its educational mission. These students and faculty members took part in the formation of ethnic studies and Chicana/o studies on their campus and in higher education generally. Their activist contributions, however, have been ignored by USC and by most of the scholarly community. Yet, through their work and use of parrhesia (saying what one means with frank speech), the core Chicana/o movement concepts of Aztlán (the conception of a sacred homeland, borrowed from the Aztec cosmovision archetype of origins) and Chicanismo (a collective Chicana/o cultural nationalism) have been woven into the mythology of USC, creating a Chicana/o legacy of deep education and learning.
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Zając, Michał. "Próba mitologii romantycznej i politycznej. Kilka uwag na temat „Gryfa” Olgi Daukszty." Tematy i Konteksty 16, no. 11 (2021): 597–608. http://dx.doi.org/10.15584/tik.2021.37.
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The presented article focuses on Olga Daukszta’s epic poem “Griffin”. Written at the turn of the 1930s and 1940s, the poem constructs specific Polish and Christian identity on the lands of former Polish Livonia and contemporary Latvia. Daukszta, who considered herself Polish as well as German, Tatar or Samogitian, lived in the region where various nationalities met, co-existed and fought over centuries. In the time when Polish identity in Latvia was suppressed, she was pointing out the Polish components and aspects of Latvian history. In order to justify specific national and political rights, in her poem she constructed romantic mythology that re-interpreted certain symbols and allegories (like griffin, lion, but also St. George, etc.) and put them in the context of European and Christian culture in general. The poem was never published, nevertheless, it became an interesting attempt to create a local but somehow diverse identity in a rather typical romantic way.
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Sidor, Monika. "Od kulturowego pojmowania przestrzeni ku rozważaniom o wieczności. Dyskurs przestrzenny w powieści Brisbane Jewgienija Wodołazkina." Studia Rossica Posnaniensia 46, no. 2 (October 14, 2021): 79–91. http://dx.doi.org/10.14746/strp.2021.46.2.6.
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This article deals with different aspects of space in the text of Eugene Vodolazkin’s novel Brisbane as well as in its studies and reception. Successive parts of the research are devoted to lieux de mémoire in autobiographical fiction, cultural understanding of the space of the home and places which traditionally create the image of Kiev and the individual mythology of this city. Space perceived in the way modified by culture is a certain frame in which both the hero of Vodolazkin lives and a receiver reads the novel. It is also an important component of the work’s internal structure, the factor responsible for certain genre associations that determine the direction of the reading process. In all these forms of functioning, space is thematically related to the reflection on death. The author concludes that the understanding of space leads to the rejection of the physical future and the affirmation of eternity understood in a religious way, in line with medieval tradition.
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Gaiter, Colette. "Visualizing a Black Future: Emory Douglas and the Black Panther Party." Journal of Visual Culture 17, no. 3 (December 2018): 299–311. http://dx.doi.org/10.1177/1470412918800007.
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In the post-Civil Rights late 1960s, the Black Panther Party (BPP) artist Emory Douglas created visual messages mirroring the US Western genre and gun culture of the time. For black people still struggling against severe oppression, Douglas’s work metaphorically armed them to defend against daily injustices. The BPP’s intrepid and carefully constructed images were compelling, but conversely, they motivated lawmakers and law enforcement officers to disrupt the organization aggressively. Decades after mainstream media vilified Douglas’s work, new generations celebrate its prescient activism and bold aesthetics. Using empathetic strategies of reflecting black communities back to themselves, Douglas visualized everyday superheroes. The gun-carrying avenger/cowboy hero archetype prevalent in Westerns did not transcend deeply embedded US racial stereotypes branding black people as inherently dangerous. Douglas helped the Panthers create visual mythology that merged fluidly with the ideas of Afrofuturism, which would develop years later as an expression of imagined liberated black futures.
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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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Olsen, Douglas P. "Provider Choice: Essential To Autonomy or Advertising Gimmick?" Nursing Ethics 3, no. 2 (June 1996): 108–17. http://dx.doi.org/10.1177/096973309600300203.
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Free choice of provider is heralded as a right of autonomy, but the goals of autonomy are better served in today's health care environment when there is informed choice of the care delivery system. The principle of liberty is distinguished from respect for auton omy. Free choice of provider would be demanded only by liberty, except that allocation of health care resources does not meet criteria for the application of liberty. Patients attempting to choose the best practitioner do not have data to support the decision. If data were available, access to these superior practitioners would become an allocation problem. A mythology of the wise practitioner fosters the concept of provider choice as a personal judgement about clinical knowledge. The emerging trends of collaborative care, standardization of practice guidelines and diversity of delivery systems among reimbursers create a situation where a patient's autonomy to choose goals for treatment is respected through the choice of delivery sys tem.
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Jainudin, Jainudin. "Mitologi Buyut Cili Kepercayaan dan Habituasi Transendental Suku Using, Banyuwangi." Religió: Jurnal Studi Agama-agama 9, no. 1 (March 20, 2019): 77–97. http://dx.doi.org/10.15642/religio.v9i1.1234.
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The history of the mythology of Using Tribe in Banyuwangi has been rooted within the ancestral beliefs of Hinduism and Buddhism. Using Tribe used to do a pilgrimage (ziarah) to what so called Petilasan Buyut Cili which is believed as ground-breaker of the construction of Using. This research aims to describe history of Petilasan Buyut Cili, cultural changes of the ancestral faith, and transcendental habituation. Using phenomenological approach, this research attempts to elucidate that social belief could create a basically well-balanced connection between human and God. This research found that (1) the growth of the belief of Using Tribe has been influenced by Department of Tourism which established Kemiren Village as a traditional and cultural village; (2) urbanization changes religious patterns of Using Tribe; and (3) the tribe has been transformed to be a religious-based tourist destination. The tribe practiced annual religious rites which are conserved simultaneously to become a transcendental habituation for the people of Desa Kemiren.
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Moon, Jung Pil. "Storytelling and Cultural Tourism of Architectural Change in Mythology: Focusing on Bongjeongsa Temple in Andong." Korean Association of Regional Sociology 23, no. 3 (December 31, 2022): 123–47. http://dx.doi.org/10.35175/krs.2022.23.3.123.
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In this study, the values of storytelling to be applied to a culture tourism program were suggested by interpreting the Confucian ideology of Joseon and architectural changes in the later generations in terms of modern mythologies through Ahndong Bongjeongsa Temple. As the research method, Bongjeongsa Temple was examined from the aspect of Roland Barthes’s modern mythologies and discussed in three viewpoints found in the historical flow. The categories are the Confucian mythologic feature that shows the symbolism of how Bongjeongsa Temple was built through a human phoenix, the modern mythologic feature which dismantles the building to which Confucian supremacy was applied at the point of cultural assets restoration in 1960s, and the inherited mythological feature that the space of Manselu of Bongjeongsa Temple where Confucianism and Buddhism had been exchanged was applied to the construction of Seowons and to the elements of modern architecture later. The mythological values of storytelling culture tourism centered around Bongjeongsa Temple are as follows: First, Bongjeongsa Temple clearly reveals the semiotic meanings of ‘a phoenix’, ‘heavenly lamp’, ‘placenta of a king’ and etc. with its tale of establishment, and the analytic contents of the Buddhist tales implying a unified nation of those times should be reflected as the value of culture tourism storytelling. Second, the symbolized tradition in which a phoenix represents a king in the Bongjeongsa Temple foundation tale and the Confucian myth where Toegye is praised as a human phoenix need to be discussed as culture tourism contents that can be developed into an ideological value after being mixed with Buddhistic beliefs. Third, the dismantlement of ‘Wuhwalu’ and ‘Jinyeomun’ was the act of space restoration eliminating the complexity from the exchange between Buddhism and Confucianism, and needs to be recognized as the storytelling value to reflect on the modern mythological behavior exerted on Bongjeongsa Temple from which the historical trail had been erased. ‘Manselu’ of Bongjeongsa Temple is the space where monks and classical scholars interacted, and ‘Mandaelu’ of Byeongsanseowon, a Confucian building, has the common architectural element. It is the concept of ‘Nuhajinib’, shift of space and an entrance function, and ‘Lu malu’ to which nature was introduced with Chagyeong technique, and has been settled as the value of an inheritance factor of the traditional architectural culture today. Therefore, the archetetural elements related to the foundation tale of Bongjeongsa Temple can create the storytelling value with the implication of liberal arts that tourists can actually recognize with traditional architecture.
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Maulenov, A. A., and N. K. Matbek. "Neomythology in works of art." Keruen 74, no. 1 (March 15, 2022): 160–69. http://dx.doi.org/10.53871/2078-8134.2022.1-12.
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The article draws attention to the role of mythology in the literature of the twentieth century, particularly in postmodernism. It is asserted that the use of myth allows you to achieve various artistic goals: create images, convey relationships. It is noted that the mythological symbolism fits well into the process of formation of intertextuality as the main feature of postmodernism. The main statements are illustrated through the work of Ch. Aitmatov on the example of the novel “When the mountains are served” (“The Eternal Bride”). The writer uses mythological plot, which is transformed and acquires a new sound and meaning, corresponding to modern reality. In the modern world, the synthesis of mythology and realism has become an integral part of culture. These changes gave impetus to the search for new signs and symbols in the literary process. Myth, parable, legend have an active formative influence on modern prose, contribute to the appearance of images-symbols, images-metaphors, images-allegories. The myth, crystallized for centuries and even millennia of its existence in the minds of different peoples, people of different eras, gives the most vivid examples of life situations, eternal emotions – such as love, loyalty, hatred, betrayal, selflessness. Ch. Aitmatov’s mastery in this work consists primarily in the fact that the actual biblical events are pushed into the background here, as it were, and the author's main attention is focused on the study of the psychosocial state of the planet. The theme of Zoroastrianism is introduced through myths: the people believe that this is the only way to return the “Eternal Bride”. In the image of Ch. Aitmatov, myths change their structure. They become closer to modern life, synthesizing samples of the mythical creativity of the Kyrgyz people with the actual problems of our time, the writer creates a truly philosophical and psychological novel embodying the sacred covenant of the ancestors about love and protection of nature. Thus, the commonality between the symbolic image of Zhaabars and Arsen seems obvious, the writer turns to the origins of national cultures, to mythopoetic models of artistic thinking, deeply reveals the spiritual world of his heroes. In his works, Ch.Aitmatov through folk mythology was able to reveal the multifaceted symbolism of the meaning of human existence, preserved in the mythological consciousness of the people. It is no coincidence that the myth - making of Ch. Aitmatov became not only a school for Turkic writers, but also a moral reference point in the development of the mythological tradition. It is discussed the features of postmodernism at the final part of the article, its difference from other directions. The use of mythologems, their creative processing is evidence of the originality of the mythological thinking of modern writers.
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Polidovych, Yu B. "IRANIAN MYTH ABOUT THE ROYAL AUTHORITY AND THE PECTORAL FROM TOVSTA MOGYLA." Archaeology and Early History of Ukraine 36, no. 3 (May 18, 2020): 135–49. http://dx.doi.org/10.37445/adiu.2020.03.06.
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The article is devoted to the analysis of images on a gold pectoral from the Tovsta Mogyla of the middle of the 4th century BC. The product has a well-thought-out structure (fig. 1). The main friezes are the internal and external ones. The central axis on which the most important scenes are located is highlighted. The arrangement of the scenes inside the friezes is subject to pendulum symmetry (fig. 2). The main theme of the external frieze is the death. The central scene embodies the triumph of death, but with each next scene it recedes, and in scenes with a hare and grasshoppers one can watch the transition of the theme to its opposite. The main theme of the internal frieze is life. The development of life is shown through the growth of cubs from the moment of birth to the beginning of adult life. Figures of birds on the frieze edges indicate a change in theme. The story of man, which also has its development, is interwoven into the internal frieze. Its beginning is in the central scene where two men create the clothes from sheep’s clothing. Such clothes in Iranian mythology symbolized the royal khwarrah. It can be assumed that the central characters are the gods who create the royal khwarrah and the happy fate of the future ruler. Such gods could be the Iranian Verethragna and Mithra, corresponding to the Scythian «Ares» and Oitosyros. In the three scenes of the upper frieze the myth about royal power is enclosed. Its main motives are following: predetermining the birth of the king and his happy fate, birth, raising by shepherds, being at the headquarters of the ruler after reaching adulthood and gaining royal power. The appearance of this mythology in the Iranian environment is probably associated with the accession of Cyrus the Great and the Achaemenid dynasty. In the Scythian environment it was called upon to legitimize the power of the ruler-owner of the pectoral. Apparently the myth was a reference to the legendary times of Kolaxais, the ancestor of the Paralates, Scythian warriors and kings. In such a situation the pectoral was conceived as one of the visible incarnations of the royal family khwarrah, telling by means of iconography about its origin.