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Journal articles on the topic 'Hero myth'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Suresh, Devu M. "Probe on Myth and Hero, A Case Study of Harry Potter: Asserting Harry Potter as a Modern Mythical Hero." SMART MOVES JOURNAL IJELLH 9, no. 2 (2021): 145–57. http://dx.doi.org/10.24113/ijellh.v9i2.10916.

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A Hero is the one who stands unique as his own, based on the presumption that, he is someone who has given his or her life to something bigger than oneself. Throughout this research paper, there have been undertaken many references and probes to the realm of ‘Hero’, obviously that of ‘Mythical Hero’, as the ideology concerning hero dates back it’s root in ancient myths and legends all over the world. Myriads of attempts have been made to the ‘Hero Myth Cycle’ proposed by Campbell, to assert the novel conception, concerning the well renowned fictional character, Harry Potter as a ‘Modern Mythical Hero’.

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2

Vendler, Helen, Dorothy Van Ghent, and Jeffrey Cane Robinson. "Keats: The Myth of the Hero." Studies in Romanticism 24, no. 2 (1985): 283. http://dx.doi.org/10.2307/25600539.

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3

Stillinger, Jack, Dorothy Van Ghent, and Jeffrey Cane Robinson. "Keats: The Myth of the Hero." Yearbook of English Studies 17 (1987): 316. http://dx.doi.org/10.2307/3507722.

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4

Vale, M. "St George: Hero, Martyr and Myth." English Historical Review 117, no. 474 (2002): 1329–30. http://dx.doi.org/10.1093/ehr/117.474.1329.

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5

Kerr, Barbara. "A New Hero Myth—For Women." Psychology of Women Quarterly 20, no. 2 (1996): 321–22. http://dx.doi.org/10.1177/036168439602000204.

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6

Mcmahon, Brendan. "The Adolescent Hero in Celtic Myth." Self & Society 32, no. 1 (2004): 18–24. http://dx.doi.org/10.1080/03060497.2004.11083767.

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7

POLNIAK, Łukasz. "POLISH WAR MOVIES AS A CASE STUDY OF THE MYTH OF THE BEGINNINGS OF NEW STATEHOOD AS THE LEGITIMIST CATEGORY IN THE POLISH PEOPLE’S REPUBLIC." Scientific Journal of the Military University of Land Forces 160, no. 2 (2011): 84–99. http://dx.doi.org/10.5604/01.3001.0002.2964.

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This article attempts to reconstruct the mythology surrounding the beginnings of state-hood of the Polish People’s Republic after the Second World War. As the means of conveying political propaganda, myths were primarily propagated in the Polish war movies of the period 1956 through 1989. The myth pertaining to the origin of statehood aimed to legitimize the roots of the communist system in Poland. As such, it is the part of a broader mythology which had developed over centuries in the national consciousness, the “myth of Polish statehood. It was used by the communists as propaganda after the Second World War. Its other mythological components include: permanence, reference to tradition and nationalism. Its main elements are: the portraying of the beginning of statehood as a drama, the myth of the army as an institution and the myth of the soldier as a charismatic figure, the myth of Western and Northern territories and the myth of Bieszczady mountains as the new Polish Eastern Borderlands, the myth of the lost patriot hero, the myth of the folk hero and the myth of widespread support for the new state authorities in years 1944-1947. It is important to note the attempts to connect the nationalistic (anti-German and anti-Ukrainian) threads with the elements of military ethos. It appears that after 1956 the current socialist realism was replaced by the myths of the beginning and the military ethics.

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8

Broadway, Francis S., and Douglass M. Conkle. "A Thought: From Hero Toward Myth-Making." Journal of Curriculum and Pedagogy 6, no. 1 (2009): 58–63. http://dx.doi.org/10.1080/15505170.2009.10411725.

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9

Vladyslav Buinitskyi and Anatolii Yakovets. "THE ROLE OF THE MEDIA IN SHAPING THE IMAGE OF A POLITICIAN." World Science 3, no. 11(51) (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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Olson, Debbie. "Cowboy Cops and Black Lives Matter: Three Billboards Outside Ebbing, Missouri and the Great White West[ern]." Text Matters, no. 10 (November 24, 2020): 93–117. http://dx.doi.org/10.18778/2083-2931.10.06.

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The racial framework of Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri rests at the intersection of three persistent cultural myths—the Frontier Myth, the hero cowboy myth and the myth of white supremacy. There has been much criticism of the portrayal of black characters in the film, and particularly the lack of significant black characters in a film that sports a solid undercurrent of racial politics. While the black characters in the film occupy a small amount of screen time, this paper argues that the film’s treatment of black characters, including their absence, puts on display the cultural dysfunction of racial politics in the US, especially in rural America, and particularly in Missouri. The film’s subversion of the cowboy hero instead reveals the disturbing reality of the Frontier Myth and its dependence on racism and white supremacy for validation. In its unmasking of myth, Three Billboards challenges the illusion of a glorious Western past that never existed and at the same time supports racial justice and the Black Lives Matter movement.

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11

Duda, Katarzyna. "Mitologia radziecka (beletrystyka i reportaż rosyjski XX i XXI wieku)." Politeja 15, no. 55 (2019): 225–50. http://dx.doi.org/10.12797/politeja.15.2018.55.11.

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Soviet Mythology (Russian Belles-Lettres and Non-fiction Literature in 20th and 21st Century)Soviet history, since just after the October Revolution until the present day, has been full of myths created by the communist ideology and politics. In the past, these numerous myths (together with utopias) helped people to believe in the existence of a paradise on the Earth. The most popular of these myths are the myth of the victim, the myth of a hero fighting for ‘the peace in the whole world’, the myth connected with the figure of a Leader, Teacher showing how people have to speak, behave and act, the myth of the Great Patriotic War… The last one is especially well known all over the world because Soviet politicians always consider themselves winners who had regained freedom. These days the Great Patriotic War myth is used or even overused in the Russian Federation because people are looking for an event which could connect all former Soviet nations. Books written by Russian authors are the proof of this tendency.

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12

Golban, Petru, and Patricia Denisa Dita. "Rewriting the Faust Myth within Romantic Dualism of Existence in Byrons Manfred and Cain." BORDER CROSSING 8, no. 1 (2018): 200–219. http://dx.doi.org/10.33182/bc.v8i1.587.

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Among the myths revived and rewritten by the romantics Prometheus, Orpheus, Psyche, Apollo, and so on the myth of Faust would provide one of the most congenial ways of textualization of the romantic rise of individualism, in general, and of some of its individual thematic perspectives, such as dualism of existence, escapism, and rebelliousness, in particular. George Gordon, Lord Byrons impressive literary masterpieces, the lyrical plays Manfred and Cain are among those works that contributed to the rise of the romantic hero in English literature by building up one of its particular as well as most interesting versions, which is known as the Byronic hero. Solitary, inadaptable, arrogant, misfit, escapist or rebellious, whatever would be the common features of the many characters that are labelled as Byronic hero, they still reveal certain distinct features and perform various deeds that allow them to be regarded as particular hypostases of the Byronic hero, among which Childe Harold, Manfred, Don Juan, Cain, and others. Among these, Manfred and Cain are at once hypostases of the Byronic hero and Faustian figures making possible the reconstruction of the Faust myth within the new attitudes and the thematic complexity of the Romantic Movement. In this respect, the present study embarks on a critical endeavour to disclose and compare the ways in which the two dramatic works revive and reshape the myth, and make it a vehicle for both romantic and, as we will see, anti-romantic literary expression.

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Min-ah, Kim,. "A Study on the Myth of Il-sung Kim as the National Foundation Myth and Hero Myth." Literature and Religion 22, no. 4 (2017): 25–49. http://dx.doi.org/10.14376/lar.2017.22.4.25.

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14

Larson, Wendy. "Zhang Yimou's Hero: dismantling the myth of cultural power." Journal of Chinese Cinemas 2, no. 3 (2008): 181–96. http://dx.doi.org/10.1386/jcc.2.3.181_1.

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15

Smith, Marlaine C. "Health, Healing, and the Myth of the Hero Journey." Advances in Nursing Science 24, no. 4 (2002): 1–13. http://dx.doi.org/10.1097/00012272-200206000-00006.

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16

Morrow, Don. "The Myth of the Hero in Canadian Sport History." Canadian Journal of History of Sport 23, no. 2 (1992): 72–83. http://dx.doi.org/10.1123/cjhs.23.2.72.

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17

Ranieri, Roberto. "The Hero with a Thousand Facebooks: Mythology in Between the Fall of Humanism and the Rise of Big Data Religion." Journal of Genius and Eminence 2, Volume 2, Issue 2: Winter 2017 (2017): 23–31. http://dx.doi.org/10.18536//jge.2017.02.2.2.03.

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This paper will show why mythology is still relevant today. To the technological man, a myth is a curious, but valueless, cultural artifact from a superstitious age. He considers myth and primitive religion as failed attempts at science. Myths, in his opinion, were the theories that primitive people devised to explain the world. Now that we have science, we know better, and we should discard myth. However, the technological man also feels an ever-growing fear of losing the meaning of his journey through history. His perception of the dystopian future is mythologically apocalyptic and threating his humanity as never before. Firstly, the paper will define technophobia by considering the psychological impact of the information society on everyday life. Secondly, it will be demonstrated that fearing technology has a long history in the performing arts. Indeed, narratives about artificial life, surpassing human limits, and controlling potentially dangerous technologies feature familiar legendary figures, from the imagined wings of Icarus to the most recent Hollywood science fiction movie. Finally, this study will highlight that the potential rise of the big-data religion, instead of being considered the end of mythology, can be read as a new mythology itself.

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18

Petrova, A. P. "Cultural Hero and Screen Hero: Essential Characteristics of the Image." Art & Culture Studies, no. 1 (2021): 244–65. http://dx.doi.org/10.51678/2226-0072-2021-1-244-265.

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Screen arts — cinema, television, multimedia — have become the dominant means of representing culture. Today, the screen hero is pushing the literary hero out of the cultural space. It occupies a leading position in audience reach and public awareness. Moreover, the screen hero is a mirror of culture and the result of reflection on how an artist (in our case, a director or screenwriter) sees, feels and understands a modern person. The article reveals the essential characteristics of the screen hero and the cultural hero as a more extensive phenomenon of which he is a part. We define their place and functions in the sociocultural space, the methods of their communication with the recipient. The formation of the phenomenon of the cultural hero began in antiquity. Therefore, we analyze its essential characteristics through the theory of myth (E.M. Meletinsky, M. Eliade, M.M. Bakhtin, K. Levi-Strauss, C.G. Jung, J. Campbell). We also consider the shadow side of the cultural hero — the trickster. He is the forerunner of the antihero in screen culture. The screen hero is a modern form of the cultural hero. Therefore, he adopts mythology and basic essential characteristics from his predecessor. However, the screen hero is a more complexed phenome- non of encoded cultural text. It is born at the junction of the millennial canon of representing a cultural hero and new artistic and expressive means of the screen.

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19

Liang, Meng. "The Making of Odysseus the Hero in Homer’s Odyssey." International Journal of Applied Linguistics and English Literature 6, no. 7 (2017): 42. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.42.

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This paper examines in a sociological manner how the heroic identity of Odysseus is constructed in Homer’s Odyssey. The making of Odysseus the hero requires the constant testing and improving of Odysseus's heroic qualities, the existence of a largely loyal crowd to testify to his charisma, and the weaving of a myth that wraps him up. Various aspects of the Greek hero are fleshed out.

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20

Suh, Hye Sook. "A Comparison Between Celtic Myth and Korean Myth: With Emphasis On Hero Cuchulain and Jumong." Yeats Journal of Korea 34 (December 30, 2009): 27–52. http://dx.doi.org/10.14354/yjk.2010.34.27.

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21

Ivanov, Andrey G. "The Hero Mythologem in the Structure of a Social Myth." Vestnik Tomskogo gosudarstvennogo universiteta, no. 441 (April 1, 2019): 80–88. http://dx.doi.org/10.17223/15617793/441/11.

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22

Heath, Robin. "An Astronomical Basis for the Myth of the Solar Hero." Culture and Cosmos 01, no. 01 (1997): 3–9. http://dx.doi.org/10.46472/cc.0101.02.02.

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23

Heath, Robin. "An Astronomical Basis for the Myth of the Solar Hero." Culture and Cosmos 1, no. 01 (1997): 3–9. http://dx.doi.org/10.46472/cc.0101.0203.

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Our increasing knowledge of the megalithic culture of the British Isles in the 2nd and 3rd millennia BCE tends to confirm the proposition that megalithic astronomers measured celestial positions with considerable accuracy. The evidence indicates that they understood the 18.6 year nodal period and the moon’s nine minute declination wobble. They also had sufficient geometrical ability to re-proportion spacings between lines, divide circles into whole number polygons and divide lines into equal integer spacings. We should therefore ask whether there is evidence of such early astronomy in the numbers which recur in certain myths.

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24

Makay, John J., and Alberto Gonzalez. "Dylan's biographical rhetoric and the myth of the outlaw‐hero." Southern Speech Communication Journal 52, no. 2 (1987): 165–80. http://dx.doi.org/10.1080/10417948709372686.

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25

Shermer, Michael. "Darwin, Freud, and the Myth of the Hero in Science." Knowledge 11, no. 3 (1990): 280–301. http://dx.doi.org/10.1177/107554709001100305.

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26

Silber, Nina. "U. S. Grant: American Hero, American Myth (review)." Journal of the Civil War Era 1, no. 1 (2011): 105–8. http://dx.doi.org/10.1353/cwe.2011.0019.

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Melanie Kirkland. "U. S. Grant: American Hero, American Myth (review)." Southwestern Historical Quarterly 114, no. 1 (2010): 99–100. http://dx.doi.org/10.1353/swh.0.0010.

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28

Cushman, Stephen. "U. S. Grant: American Hero, American Myth (review)." Civil War History 57, no. 1 (2011): 82–83. http://dx.doi.org/10.1353/cwh.2011.0008.

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29

Karki, Dhruba. "Blending Myth and Modernity in the Global Chinese Cinema: The Hong Kong Action Hero in Zhang Yimou-Directed Hero." Tribhuvan University Journal 32, no. 2 (2018): 37–56. http://dx.doi.org/10.3126/tuj.v32i2.24702.

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Zhang Yimou’s Hero presents an action hero, yet in a slightly different cinematic mode than that of Stephen Chow-directed Shaolin Soccer to blend myth and modernity. In Yimou’s martial arts cinema, Jet Li-starred Nameless hero uses martial arts to combat the king’s adversaries, including Donnie Yen-starred Long Sky, Maggie Cheung-starred Flying Snow and Tony Leung Chiu-Wai-starred Broken Sword in the service to the Qin Dynasty (221 BC – 207 BC). The warrior hero’s indigenous body art helps the Qin Dynasty transform the smaller warring kingdoms into a powerful Chinese Empire, a strong foundation of modern China with economic and military superpower. Like their western counterparts, including T1000 and Neo, the Hong Kong action heroes, such as the warrior hero and the Qin King have been refashioned in the Hollywood controlled twentieth-century popular culture. Different from their Hollywood counterparts in actions, the Hong Kong action heroes in Hero primarily use their trained bodies and martial skills to promote the Chinese civilization, an adaptation of the Hollywood tradition of technologized machine body. Reworking of myth and archetype in Nameless’s service to the Qin Dynasty and the emperor’s mission to incept the Chinese Empire, the Hong Kong action heroes appear on screen, a blend of tradition and modernity. The film industry’s projection of the Chinese history with the legendary action heroes, including Nameless soldier and the Qin King globalizes the indigenous Chinese culture by using modern electronic digital technology, a resonance of the western technological advancement.

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30

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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31

Sokolova, Bogdana. "THE "HERO" CONCEPT: THE PROBLEMS OF INTERPRETATION." Herald of Culturology, no. 3 (2021): 9–28. http://dx.doi.org/10.31249/hoc/2021.03.01.

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The concept of «hero» bears reflections of many eras. Despite its long history, starting with myth and epic, as well as different views on its nature, there is a certain basis in the phenomenon of heroism that feeds the culture of different times and peoples and resonates in the human soul as a stable archetype. The article raises the problem of interpreting the phenomenon of heroism, its refractions in cultural and philosophical concepts as well as the problem of their relevance to the inner deep meaning of the phenomenon itself. The article presents the author’s analysis of the fundamental concept of heroism, which can be found in the Living Ethics, one of the philosophical systems of Russian cosmism of the early twentieth century.

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32

Vladimirova, Tatyana E. "Semantic Continuumof Myth." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 2 (2020): 161–74. http://dx.doi.org/10.22363/2313-2299-2020-11-2-161-174.

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Language, the first cultural phenomenon, received textual expression in myths, of which the oldest tell of the mystical relationship of the tribe with the animal. Consideration of the concepts that arose on this basis, and then of “conceptual myths” (OM Freidenberg) about the totem-ancestor makes it possible to analyze their semantic-semantic fields. Moreover, we relied on the cultural-historical concept of G.G. Shpet, which allowed us to trace the evolution and subsequent transformation of the semantic-semantic fields of myth and thus reveal the algorithm for the formation of the mythopoetic tradition, its fading and eternal return. In the center of this work is semantic-semantic fields of myths about the Heavenly deer / moose cow, the cult which stretched over the more than six millennia. Observing the astral objects that served as a spatial-temporal reference point in the hunting and reindeer herding, primitive tribes felt their unity with the star ancestors. For example, two constellations of seven stars, which served the primitive hunters and reindeer breeders as a guide on the way, began to be identified in the russian North with the horned Reindeer Mother / moose cow and her daughter, from which the well-being of people depends. The attempt of comparative-historical reconstruction of semantic-semantic fields in article based on the material of myths about totems-forefathers made it possible to distinguish three main layers. These are 1) the energetically “charged” field of the myth of the shaman visiting the fantastic deer in labor, in which the religious and mythological consciousness received expression; 2) a semantic-semantic field of myths that belong to the artistic and heroic consciousness and narrate about a cultural hero who is ready for a feat for his family-tribal community; 3) the semantic-semantic field of the myth of the Horned mother-deer in the story of Ch. T. Aitmatova’s “White Steamboat (After the Tale)”, the rescue of orphans who became the ancestors of the Bugu tribe (‘deer’), and contains deep thoughts of the author, the bearer of cultural-historical and philosophicalcultural consciousness. As for the semantic-semantic fields, specific to the various interpretations of plots about a moose cow and a calf, close to a household fairy tale, a hunting story and a joke, so they correspond to the scientific and technical type of consciousness that has lost its connection with myth.

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Kerimkulova, R. O., and Sh I. Ibraev. "Transformation of auxiliary mythological characters in the heroic epic of the Turkic peoples." Bulletin of the L.N. Gumilyov Eurasian National University. Political Science. Regional Studies. Oriental Studies. Turkology Series. 135, no. 2 (2021): 130–37. http://dx.doi.org/10.32523/2616-6887/2021-135-2-130-137.

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The image of the myth in the epic of the Turkic peoples is preserved in the function of auxiliary characters. The plot, motive, and mythology of the myth have a structural meaning at different levels of the epic, as well as the image of the characters and the burden on them. Among them are a tulpar, an auxiliary, a hero's wife, or a girl in love with him, a ghost, a saint, a fairy, a diyu, etc., who saves the hero from trouble. It is no coincidence that in the heroic epic the hero's spirit is associated with the cult of ancestors. Because it is a myth that the source of unparalleled strength and courage is realized through this arrow. At first, the protagonist, although he is alone and alone, walks alone, attacks the enemy alone and goes on a campaign. If this model repeats the image of a mythical hero acting alone, then he performs a feat that an ordinary person cannot do with the help of an auxiliary character (spirit), which is in line with the same mythical logic. The problem here is not only that the supporting character is in a mythical image, but also that the pattern of action of the epic hero repeats the mythical model. This is a sign that both the skeleton of the myth and the system of images are repeated in the epic. Of course, it is obvious that epic has changed and adapted to nature. We notice that the image and activity of the auxiliary mythological characters in the heroic epos of the Turkic peoples relate to the history of the formation of the epic genre. They are in the plot of the epic together with the protagonist of the epic. Actions and concepts such as ancestral cult, communication with other worlds, the help of heroes to help the hero to win, to achieve his goals are derived from the model of myth.

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34

Hegarty, Kerry T. "From Superhero to National Hero: The Populist Myth of El Santo." Studies in Latin American Popular Culture 31 (June 2013): 3–27. http://dx.doi.org/10.7560/slapc3102.

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35

Rodman, Gilbert B. "A hero to most?: Elvis, myth, and the politics of race." Cultural Studies 8, no. 3 (1994): 457–83. http://dx.doi.org/10.1080/09502389400490321.

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36

Standish, Isolde. "Thejidaigekitelevision series: myth, iteration and the domestication of the samurai hero." Japan Forum 23, no. 3 (2011): 431–40. http://dx.doi.org/10.1080/09555803.2011.597056.

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37

Jackall, Robert. "From Predators to Icons: Exposing the Myth of the Business Hero." Contemporary Sociology: A Journal of Reviews 41, no. 1 (2012): 108–9. http://dx.doi.org/10.1177/0094306111430635hh.

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38

Goby, Valerie Priscilla. "From Predators To Icons: Exposing the Myth of the Business Hero." Business Communication Quarterly 74, no. 2 (2011): 233–38. http://dx.doi.org/10.1177/1080569911404950.

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39

Kane, Maurice James. "New Zealand’s transformed adventure: from hero myth to accessible tourism experience." Leisure Studies 32, no. 2 (2013): 133–51. http://dx.doi.org/10.1080/02614367.2011.623305.

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40

Zatorska, Izabella. "Le mythe de Paul et Virginie à travers trois romans francophones de l’océan Indien." Romanica Wratislaviensia 65 (August 4, 2020): 169–83. http://dx.doi.org/10.19195/0557-2665.65.14.

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Ex oriente lux? From the Southern Tropics in any case, since certain myths from former times, forgotten and buried under indifference, come back to us rejuvenated and transformed. In this article, we treat one myth — ‘myth’ given the extent of its cultural hypertext — which arose, strangely but almost necessarily, in an ancient French colony: the Île-de-France (Mauritius). It may seem fairly obvious that Paul and Virginie (hero and heroine of Bernardin de Saint-Pierre’s eponymous novel) should have returned to haunt the literature of the Île-de-France and her “sister island”, La Réunion. We examine three novels: the first transcribes the idyllic couple in terms of a realism based on a form of local colour (Georges Azéma, Noëlla, 1874). The second ends up destroying the pastoral eclogue of Bernardin de Saint-Pierre (Loys Masson, Les Noces de la vanille, 1962, English title: The Overseer). The third novel, Le Chercheur d’or by J.M.G. Le Clézio (1985, English title: The Collector), abandons the island setting in order to preserve the myth. Whether colonial or postcolonial, the old myth, dressed in new clothes, invites us to a dialogue between different centuries and different cultures.

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Popa Blanariu, Nicoleta. "Transmedial Prometheus: from the Greek Myth to Contemporary Interpretations." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (2017): 88–107. http://dx.doi.org/10.7195/ri14.v15i1.1040.

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The myth of Prometheus is well known for its rich polymorphism, celebrating the Titan’s contest with the Olympian gods and its demythisation in the contemporary era. To Ernst Bloch “Faust and Prometheus are the major figures of the Renaissance”, while Gilbert Durand describes the relationship between myth and history as a backwards “evhemerism” which enables a messianic reading of the Promethean symbol, especially at the end of the 18th century and beginning of the following. From the Renaissance to the 20th century, the Promethean symbol slides transmedially from the verbalized narrative towards visual arts. With the exhaustion of the Promethean momentum, for Durand as well as Maffesoli, the 20th century assumes the decadent myths of Dionysus and, eventually, a vast Hermetic mythology. This paper highlights several moments and works which marked the dynamic history of the mythical hero, as revealed to us by Aeschylus, Shelley, Goethe, Gide, Ridley Scott etc.

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Yakusheva, Lyudmila A. "ACTUALIZATION, MYTHOLOGIZATION AND TRANSFORMATION OF THE LITERARY HERO: THE STIRLITZ PHENOMENON." Verhnevolzhski Philological Bulletin 23, no. 4 (2020): 189–95. http://dx.doi.org/10.20323/2499-9679-2020-4-23-189-195.

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Conceptualization of artistic actions of the last XX century is a natural and logical process. In the cultural studies discourse of the Soviet cultural typology we can see a sustained interest in educational problems based on visualized acts of a semiotic and semantic range, which are defined through the cultural context of the epoch. The most recognizable sign-index of the 1970s (in terms of time, ideological system and Soviet mentality) is Maxim IsaevStierlitz. On the one hand, this is an image which artistic value was questioned even when it had appeared. On the other hand, mass popularity turned Stierlitz in a precedent phenomenon, and the consideration of canonization conditions inspired this research. The article continues the author's series of publications dedicated to «homo soveticus» and the phenomena of the Soviet era – communal apartments, shop lines, summer cottages. The author, based on her intuition and also on the synthesis of cultural and literary analysis, actualizes resources of myth-based criticism and history of memory, and reconstructs one of the most popular myth-images in literature and cinema of the second half of the XX century – the image of the popular Soviet spy. The research focuses on the reasons of Stierlitz’s mass popularity, archetypal qualities of this character, and its perception by difference cultural generations. The author analyzes vectors of this character’s mythologization.

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Driggers, Taylor. "Modern Medievalism and Myth: Tolkien, Tennyson, and the Quest for a Hero." Journal of Inklings Studies 3, no. 2 (2013): 133–52. http://dx.doi.org/10.3366/ink.2013.3.2.8.

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This essay considers Tennyson’s portrayal of an autonomous, evolved Arthur in Idylls of the King as a segue into the modernist context against which Tolkien wrote The Lord of the Rings. While Tennyson’s mythmaking has all the outward trappings of the medieval tradition, it uses this setting to put forth ideas reflective of the Victorian faith crisis and anticipatory of the modernist obsession with autonomy and progress. Tennyson’s Arthur functions as a modernist’s Messiah, standing in stark contrast to Tolkien’s Frodo, who more fully embodies a Christian ideal that the modernists would interpret as medieval or obsolete. The Lord of the Rings is, in this light, a deconstruction of Tennysonian heroism and a re-establishment of the Christian virtues of humility, self-denial and sacrifice as the pinnacle of true mythic heroism.

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Havrelock, Rachel. "The Myth of Birthing the Hero: Heroic Barrenness in the Hebrew Bible." Biblical Interpretation 16, no. 2 (2008): 154–78. http://dx.doi.org/10.1163/156851508x262948.

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AbstractMotherhood in the Hebrew Bible has been celebrated as indicative of female strength as well as derided as patriarchy's primary entrapment. Somewhere between the two, birth figures as a moment of narrative focus on female characters during which they reformulate their status. Birth seems to travel with its companion theme of barrenness as most central biblical characters undergo a prolonged period of infertility and an attendant struggle to conceive. Employing theories of the hero pattern, this essay argues that the movement from barrenness to fertility is a mode of female initiation into a relationship with the divine. While an explicit covenant promises men innumerable descendants and founder status, it is not realized until a parallel female covenant is forged. Where God makes the covenantal overture to men, women demand recognition through speech and deed. Barrenness motivates articulations that reveal concern with female memory and legacy and actions that distill the characters of individual women. Female volition draws divine attention and results in conception that, like circumcision, physically marks an alliance with God. The mothers encode their struggles and journeys from barrenness to fertility in the names of their children. Combining folklore and feminist methodologies, the essay proposes new parameters for understanding female heroism in the Hebrew Bible.

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Pivato, Stefano. "Italian cycling and the creation of a catholic hero: the bartali myth." International Journal of the History of Sport 13, no. 1 (1996): 128–38. http://dx.doi.org/10.1080/09523369608713929.

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Cooper, Carolyn. "Myth, Rumor, and History: The Yankee Whittling Boy as Hero and Villain." Technology and Culture 44, no. 1 (2003): 82–96. http://dx.doi.org/10.1353/tech.2003.0009.

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Soriano, Rehuel Nikolai. "The World’s Hero: Gods and Archetypes in the Myth of the Superman." International Journal of Language and Literary Studies 3, no. 2 (2021): 262–76. http://dx.doi.org/10.36892/ijlls.v3i2.582.

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This study aims to demonstrate and document that the phenomenon of Superman, as a fictional character, is an amalgamation of the extra human attributes of the heroes and gods that are read and seen in ancient narratives. Specifically, it identifies the qualities of Superman as a superhero, determines the parallelism that exists between these qualities of Superman and those of mythological and biblical personae, and establishes the similarity between the scenes, situations, and events found in its mythos and those that are found in archetypal narratives to vividly delineate his image as the world’s superhero. A content analysis of the text was primarily conducted to draw the structural elements of its narrative. Since this study also assumes that literary texts may be viewed outside of their aesthetic merits, an archetypal analysis is subsequently implemented. Meanwhile, the theoretical foundation of this study is predicated on the theory of Archetypes which assumes that literary texts are based on and influenced by archaic structures manifested in the recurring motifs, mythological counterparts, and parallelisms embedded in the story. As stated in the results, it was determined that the mythos of Superman as a heroic character is a reimagination and manifestation of mythological stories as exemplified in the analyzed materials. Furthermore, it showed that he functions as a custodian of several archetypal figures and with this, can be used as a bridge in teaching traditional literature since he embodies a conglomeration of several mythological characters. The materials analyzed in this study were composed of eight graphic novels, six Hollywood films, and two animated movies.

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Stroeva, Olesya V. "The ‘hero archetype’ in the neo-mythological context of contemporary screen culture." Journal of Flm Arts and Film Studies 11, no. 2 (2019): 116–26. http://dx.doi.org/10.17816/vgik112116-126.

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The essay examines the image of the hero in the contemporary neo-mythological field of mass screen culture. The author identifies the main features of the hero archetype and the core cultural meanings forming this concept and analyzes images of the neo-mythological heroes of our time, taking examples of mass cinema and authorial cinema and revealing differences between these two categories. According to the author, mass culture creates the hero model according to the principle of bricolage, remaining within the framework of the Christian eschatological paradigm and synthesizing it with scientific and technical progress or other elements but not reproducing the structure of the archaic myth. When the stereotype of happy ending replaces tragedy, it completely changes the true archetype of the hero more characteristic of art-house or authorial cinema. Examining the films of Jim Jarmusch and Alejandro Gonzlez Irritu, the author analyzes the method of deconstruction in authorial cinema, a cinema which seeks to reveal the meanings of the archaic hero archetype. If mass cinema acts within the simulacrum system without transcending its limits endlessly repeating the same models and often using only superficial formal properties authorial cinema tries to explode the structure in such a way as to widen the boundaries of the senses or to discover them under the layers of simulacra. Thus, screen culture has the characteristics of a neo-mythology, forming the neo-myth and developing its elements and structures, producing a stream of neo-mythological images in the media landscape. The conglomerate of various structural elements borrowed from different traditions fully reflects the postmodern situation that turns symbols and archetypes into a set of simulacra. The era of postmodernism is a stage in the development of culture characterized by the problem of the impossibility of creating anything new. Postmodernism is a creative crisis which leads to excessive visuality and, paradoxically, to visualitys death.

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Perelshtein, Roman. "Metaphysics of cinema art." Herald of Culturology, no. 1 (2021): 57–79. http://dx.doi.org/10.31249/hoc/2021.01.03.

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The author of the article explores cinema art as a kind of worldview model, based on the tragic myth of Aristotle. The well-known doctrine of tragedy is the part of the doctrine of tragic myth. Both tragedy and drama strive for catharsis, that is, to purify and heal the soul. The discussion of drama as a spiritual teaching becomes extremely relevant in this regard. The hero of the drama (wider than a movie with a dramatic plot) goes on a journey to meet his eternal "I", and, therefore, to become himself. The hero may fail, but there is no other purpose for the journey or initiation.

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Moric, Anja. "Peter Klepec: from a (Local) Hero to a (National) Allegory of Weakness." Ars & Humanitas 9, no. 1 (2015): 204–26. http://dx.doi.org/10.4312/ah.9.1.204-226.

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The narrative hero Peter Klepec is known (and laid claim to) by the inhabitants of the Čabranka-Osilnica valley, the border area on the Croatian and Slovenian side of the border. There circulate a number of quite similar stories about him, in which a frail illegitimate child Peter becomes a strong man, whose supernatural powers help the needy and drive the enemies from these regions. This paper shows the changing role and diversity of interpretations of myth in time and space using the example of folk and literary hero Peter Klepec. It focuses on the historical changes in the perception of Peter Klepec: namely, on his (local) function at the time of the Hapsburg imperial policy, the process of his nationalisation and dilemmas that arose following the division of the Čabranka-Osilnica area, i.e., the originating area of the creation of the legend of the two countries (Croatia and Slovenia). It shows that Klepec was due to different historical circumstances and (interpretive) discourse used for different purposes. First, he served as a symbol of strength and survival in the Čabranka-Osilnica valley, and then as the Hapsburg myth that justified the existence of the monarchy facing the hostile Ottomans, and lastly as an allegory of a servile Slovene, who is always just a faithful bondsman to other masters (first under the Austro-Hungarians and then the European Union).

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