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Journal articles on the topic 'Metamorphosis, mythology'
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Munna, Kanhu Charan. "From Myth to Mythya: A Study on the Metamorphosis of Ramayana in Modern India." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 247–51. http://dx.doi.org/10.22161/ijels.92.37.
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This article explores the enduring impact of Indian mythology on contemporary literature, particularly through the reinterpretation of ancient epics like the Ramayana. It delves into recent literary works that reimagine these timeless tales, offering fresh perspectives that resonate with modern audiences. Beginning with an overview of Indian mythology's rich tapestry, the article highlights its universal themes and relatable characters, from the noble prince Rama to the resilient Sita. It discusses notable works such as Amish Tripathi's Sita: Warrior Of Mithila, P. Lalita Kumari’s The Liberation of Sita, and Anand Neelakantan's Asura: Tale of the Vanquished, which provide alternative viewpoints on familiar mythological narratives. The article also explores the evolution of mythopoeia in Indian epics, emphasizing how these narratives have adapted to contemporary sensibilities while retaining their essence. It discusses the transformative process of "mythya," wherein myths transcend literal truth to convey deeper philosophical truths and allegorical meanings. Moreover, the article delves into the feminist reinterpretation of Indian mythology, spotlighting authors like Chitra Banerjee Divakaruni and Volga, who have reclaimed the voices of subaltern female characters. These retellings offer nuanced portrayals that challenge patriarchal interpretations and provide a platform for marginalized perspectives. Lastly, the article underscores the importance of reclaiming subaltern voices in mythology, showcasing how retellings have amplified the stories of characters traditionally overlooked or sidelined. Overall, it demonstrates the dynamic interplay between ancient mythology and contemporary literature, showcasing the enduring relevance and transformative potential of mythological retellings in shaping our understanding of the human experience.
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Veres, Ottilia. "Spaces in Between in the Myth of Myrrha: A Metamorphosis into Tree." Acta Universitatis Sapientiae, Philologica 11, no. 1 (November 1, 2019): 83–92. http://dx.doi.org/10.2478/ausp-2019-0006.
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Abstract Within the larger context of metamorphoses into plants in Greek and Roman mythology, the paper aims to analyse the myth of Myrrha and her metamorphosis into a tree, focusing on the triggering cause of the transformation as well as the response given to her newly-acquired form of life. Myrrha’s transformation into a myrrh tree takes place as a consequence of her transgressive incestuous act of love with her father, Cinyras. Her metamorphosis occurs as a consequence of sinful passion – passion in extremis –, and she sacrifices her body (and human life/existence) in her escape. I will look at Ovid’s version of the myth as well as Ted Hughes’s adaptation of the story from his Tales from Ovid. My discussion of the transformation into tree starts out from the consideration that metamorphosis is the par excellence place and space of in-betweenness implying an inherent hybridity and blurred, converging subjectivities, a state of being that allows for passages, overlaps, crossings, and simultaneities. I am interested to see in what ways Myrrha’s incestuous desire for her father as well as her metamorphosis into a tree can be “rooted” back to her great-grandfather Pygmalion’s transgressive love for the ivory statue Galatea.
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Meng, Shu. "Glocalizing Metamorphosis: A Post-Humanist Critique of Hybrid Romance in The Legend of White Snake and The Little Mermaid." Asian Journal of Social Science Studies 7, no. 9 (September 20, 2022): 1. http://dx.doi.org/10.20849/ajsss.v7i9.1268.
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As a transcultural archetype in both Eastern and Western mythology, metamorphosis is the main clue in The Little Mermaid by Danish writer Hans Christian Andersen and The Legend of the White Snake rewritten by Feng Menglong, which both demonstrate a cross-species romance between human beings and half-human-half-animal entities. Thus, by paralleling the story of metamorphosis in Eastern and Western cultural contexts, this paper attempts to investigate the “sharedness” rather than “sameness” between the metamorphosis tradition by creating a glocal heterotopia, revealing a possible post-humanistic potential for disrupting the differential human-animal categorization, while the tragic ending of both romances also indicates a shared pessimistic view on the establishment of nature-culture continuum and the underlying anthropocentric conception in the 17th century China and 19th century Europe.
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Duncan, Ian. "George Eliot’s Science Fiction." Representations 125, no. 1 (2014): 15–39. http://dx.doi.org/10.1525/rep.2014.125.1.15.
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George Eliot’s recourse to comparative mythology and biology in Middlemarch and Daniel Deronda engages a conjectural history of symbolic language shared by the Victorian human and natural sciences. Troubling the formation of scientific knowledge as a progression from figural to literal usage, Eliot’s novels activate an oscillation between registers, in which linguistic events of metaphor become narrative events of organic metamorphosis.
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Plummer, Nicole. "Fear, Sufferation, and Mythology in the Metamorphosis of Ivan to Rhygin." Black Camera 15, no. 1 (September 2023): 45–65. http://dx.doi.org/10.2979/blackcamera.15.1.07.
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Abstract: Mythologies have long reigned supreme in the Jamaican psyche. While there are supernatural stories such as Rivah Mumma, of note to Jamaica's history of resistance to colonialism and enslavement are antiestablishment figures like Nanny and Tacky, then colonial outlaws. More and more popular imagination is consumed by heroics of Hollywood figures such as the legendary outlaws in westerns. Utilizing Cultural Studies textual analysis, this paper explores the transformation of Ivanhoe "Ivan" Martin to Rhygin, from poor country boy to working-class urban dweller to desperate outlaw dying on his own terms. The music and language used in The Harder They Come (dir. Perry Henzell, 1972, Jamaica) will be analyzed to explore this transformation. This paper takes the view that mythmaking was the response to sufferation with fear straddling both sides of the divide—that of the wealthy and powerful whose power the poor fear; and the poor who collectively or individually and legally or illegally rise up against the system that would seek to keep them oppressed.
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Labessan-Malanda, Yannick-Laure. "La fluidité du monde. Mythes, rituels, religions chez Canetti et Lévy-Bruhl." Austriaca 61, no. 1 (2005): 89–99. http://dx.doi.org/10.3406/austr.2005.4491.
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Exploring the marginalia Canetti jotted down in his copy of Lévy-Bruhl’s book Primitive Mythology allows us to understand how the lecture of this book initiated his ideas concerning “primitive religions” and the mythical world. We find ourselves at the source of the ideas he then develops in Crowds and Power : the importance of multiplication, the fluidity of the world, metamorphosis and the redefinition of “totem”.
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Shopin, Pavlo. "The Pygmalion myth in Ovid’s “Metamorphoses” and William Schwenk Gilbert’s “Pygmalion and Galatea”." 93, no. 93 (December 22, 2023): 57–63. http://dx.doi.org/10.26565/2227-1864-2023-93-08.
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This article examines the ambivalent nature of the Pygmalion myth in Ovid’s Metamorphoses and William Schwenk Gilbert’s Pygmalion and Galatea (1870). The versions of the myth in Ovid and Gilbert are regarded as attempts at demythologization, which paradoxically introduce their own mythology. The author argues that the myth serves as both a reality and an illusion for the protagonists, blurring the lines sbetween critical knowledge and mythological worldview. Drawing on conceptual metaphor theory, the author suggests that the Pygmalion myth can be regarded as an allegory within the cognitive paradigm of embodied realism, and the unconscious metaphor behind the myth presents the metamorphosis as rationally explainable yet resistant to critical thinking. The article delves into Pygmalion’s mythical consciousness, highlighting his self-deception and the dialectic between animation and petrification. In Ovid, Pygmalion’s mastery achieves a perfect delusion. He believes in the possibility of animating his statue because it is so life-like. The original story – as we know it from Ovid’s Metamorphoses – treads the line between a miracle and self-delusion. After Ovid, its nature has remained ambivalent over the centuries. Gilbert demythologizes the myth by allowing it to become authentic reality. Pygmalion’s dream is realized to reveal its paradoxical consequences, which change the phantasmagoria of animation into a waking nightmare. The dialectic of the myth is realized through legitimating the magical act of creation and challenging its ramifications. Animation is possible in its initial stage, but the education and socialization of Galatea seemingly fail. The only way out of this predicament appears to be the reverse act of petrification. Pygmalion’s illusion has to come full circle in order to restore the balance. The article concludes that the understanding of the Pygmalion myth requires balancing between mythologizing and demythologizing, knowing and not-knowing.
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Kamalakkannan, K. M. "Metamorphosis as the Crux of the Character Vandiya Devan in Kalki’s Ponniyin Selvan." Shanlax International Journal of English 12, no. 1 (December 1, 2023): 28–32. http://dx.doi.org/10.34293/english.v12i1.6844.
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Human life is inherently compared. Man compares his life to other people’s lives. He has the intrinsic moral ability to balance the evil and good thoughts that bubble up from the depths of his mind. This is how literature and art have developed throughout all cultures. They have all been created in a comparative way. Literature has been a tool for teaching people about life and how it should and should not be. Images, symbols, and recurring themes from everyday life are used to illustrate the concepts. We refer to them as archetypes. They are the archaic pictures from global mythology that predominate in everyone’s minds. The journey of the hero is one such motif that has been predominating in the literary genre. This style totally maintains the hero’s quest as its foundation. They are fiercely patriotic toward their respective national identities. The great heroes of any nation are represented by their characters. Characters from the film “Ponniyin Selvan” such Aditya Karikalan, Arulmozhi Varman, and Vanthiyathevan are well-known for their quests, adventures, feuds, fights, and wars. Their quest and triumph serve as ideal illustrations of the hero archetype’s journey. In Kalki’s Ponniyin Selvan, the transformation of the character Vanthiya Devan is extra ordinary. Thus, the present paper explores Vanthiya Devan’s transformation and achievements in the novel and film.
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Popović-Bodroža, Ana. "Constructing of the narcissistic artistic character in the autobiography of Salvador Dali: Salvador Dali with an insight into the painting metamorphosis of narcissus, and the Dali museum/bequests." Kultura, no. 170-171 (2021): 167–78. http://dx.doi.org/10.5937/kultura2171167p.
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By applying the methodology of transdisciplinary studies, this work examines the phenomenon of Narcissism and narcissistic artistic character in the autobiography of Salvador Dali "I am the genius" (The Secret World of Salvador Dali), in the paining "The Metamorphosis of Narcissus", and in Dali's original poetry through the prisms of mythology, psychoanalysis and psychosexuality by constructing of the narcissistic character (artistic "Persona") as a model for identity strategies in contemporary art practices. The text is analysing some of Dali's unique personality characteristics and creative and personal expression, with a special insight into his childhood and the term of narcissistic personality structure according to Sigmund Freud, also analysing the key-role of Gala Dali. The text includes some postulates of the art movement of Surrealism that Dali applied in his work, from the "Surrealism Manifesto" and the Surrealism practices. In a case study, the text analyses the painting "Metamorphosis of Narcissus", its content, symbolism, style and visual elements. A possible influence of Sigmund Freud is described, and Dali's original method of "Critical Paranoia" is elaborated. The closing sections are describing the fascinating dimensions of the personality cult that Dali and his narcissistic character reached in the last years of his life. A special focus is made on the musealisation of Dali - his numerous museums and bequests, memorials and collections, the founding of which has contributed to the building of a permanent monument to the artist and finally to the establishment of his status of a mythical personality - the "Dali" brand.
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Dr. Reshu Shukla. "Mythical Metamorphosis: The Timeless Influence of Myths in Literary Realms and Retelling of The Ramayana by R. K. Narayan." Knowledgeable Research: A Multidisciplinary Journal 2, no. 07 (February 29, 2024): 34–49. http://dx.doi.org/10.57067/kr.v2i1.217.
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Indian literature captures the rich historical, spiritual, and cultural fabric of Indian culture through its intricate web of myths and tales. Myths have been used as a literary canvas, a source of inspiration, and a way to preserve culture in anything from classical texts to modern works. The paper explores the many ways that myths and legends have influenced Indian literature, highlighting the continuing power of these ageless stories using a variety of allusions. Myths and philosophical ideas may be found in abundance in the Vedas and Upanishads, the fundamental writings of Hinduism. The Ramayana and Mahabharata, the legendary epics and great Indian classics, continue to inspire generations of writers. This paper aims to study the retelling of myths and legends in R.K. Narayan’s The Ramayana. The work shares a common fascination with mythology and seeks to explore the distinctive ways in which Narayan depicts myths and legends in his work, examining the theme, characters, narrative technique, cultural nuances and contemporary resonance that distinguish this literary masterpiece.
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Φερεντίνου, Βικτώρια. "ΒΙΚΤΩΡΙΑ ΦΕΡΕΝΤΙΝΟΥ, Τα συγκοινωνούντα δοχεία μιας υβριδικής ποιητικής: Ο μύθος ως διακαλλιτεχνική και διαπολιτισμική ώσμωση στο έργο του Νίκου Εγγονόπουλου." Σύγκριση 31 (December 28, 2022): 28–41. http://dx.doi.org/10.12681/comparison.31272.
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The Communicating Vessels of a Hybrid Poetics: Myth as Intermedial and Intercultural Osmosis in the Oeuvre of Nikos Engonopoulos In 1938, the year of the International Exhibition of Surrealism at the Gallery Beaux-Arts in Paris, the poet and painter Nikos Engonopoulos created Birth of Orpheus and Genesis of Myth. The depiction of the birth of young Orpheus as emblematic of the construction of myth recalls the mythopoetic process as articulated in the anthology of the poet, psychoanalyst and photographer Andreas Embeirikos, Writings or Personal Mythology (1936-1946): “Each myth’s becoming is a child who grows up.” This reception of myth should be situated in the context of the French surrealists’ endeavour to formulate a new collective mythology that would respond to the political and social environment of the interwar years. This collective mythology resorted to cultural topoi that were deemed countercultural, marginalised or anti-Enlightenment, ranging from primitive, prehistoric and Gothic art to magic, alchemy and mythological traditions of archaic or non-European cultures. In this framework, surrealist myth was reconfigured as a new poetic language in constant metamorphosis that could articulate through diverse media and cultural traditions the surrealist vision for the radical transformation of the world. In Greece the appropriations of classical myth were central to the modernist canon. However, the Greek surrealists transformed myth in subversive ways initiating a dialogue with the present in the light of anthropology, ethnography, history of religions and psychoanalysis. Recent research has shown that Embeirikos and Engonopoulos conversed with French Surrealism and their colleagues’ engagement with alternative epistemologies and comparative religion and mythology, participating to a fecund renegotiation of the past. This paper aims at contributing to the revision of the history of Surrealism in Greece by exploring the function of myth, both as intermedial language and discursive practice, in Engonopoulos’s work. Most specifically, it purports to investigate the poetic anthologies Do not Speak to the Driver (1938) and The Clavichords of Silence (1939) alongside visual works he created at the end of the 1930s, such as the drawing SO4H2 (1937), and the engraving Vierge inviolable, métaphysique et surréaliste-sonore (1930s). The subtitles given initially to the aforementioned anthologies allude to the comparison of the arts and the equation of poetry and painting in an alchemical fusion pursued by the historical avant-gardes and Surrealism. Engonopoulos’s work and his experimentations with image-making should be revisited within this context and seen as a paradigm of the formulation of a new myth that sought to interweave the visual arts, poetry and alternative epistemologies into a revolutionary, hybrid form of expression that could effect the individual and society.
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Austern, Linda Phyllis. "Nature, Culture, Myth, and the Musician in Early Modern England." Journal of the American Musicological Society 51, no. 1 (1998): 1–47. http://dx.doi.org/10.2307/831896.
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In sixteenth- and seventeenth-century England, music was often considered an aspect of natural philosophy, the general study of natural and cultural phenomena that had been inherited from classical antiquity and the Middle Ages, but was undergoing rapid metamorphosis into more modern fields of science, technology, and the arts. Against this background, many writers began to invoke machine metaphors and the triumph of cultural products over raw nature and Nature's corollaries in the form of women and animals. Older epistemologies of magic and metaphor, which had also incorporated gendered ideas of artifice, perfection, nature, and creation, informed these emerging ideas. The result on the one hand was a practice of secular musical composition that included sounds from the natural world as feminine novelties to be bounded and improved by stylistic artifice. On the other was a documentary allegorization of music that drew from chronicle history, mythology, natural science, religion, and politics to demonstrate the moral and aesthetic superiority of music and musicians that elevated natural elements into enduring musical artifice.
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Sørensen, Jørgen Podemann. "I begyndelsen var snavset: Snavs, råddenskab og anomisk adfærd som forløsende i traditionelle (’præ-axiale’) religioner." Religionsvidenskabeligt Tidsskrift, no. 69 (March 5, 2019): 30–44. http://dx.doi.org/10.7146/rt.v0i69.112741.
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English Abstract: This paper deals with dirt, anomic behaviour, death and decay as productive and redemptive means within four very different traditional religions: Shinto, ancient Egyptian religion, classical Indian religion and Greek religion. In all four contexts, the motif is somehow anchored in mythology and makes sense first and foremost in ritualization, i.e. as part of the symbolic accompaniment of ritual metamorphosis. As others have demonstrated, the motif makes equally good sense in so-called post-axial religions, in which redemption is much more a matter of an inner, subjective breakthrough – but it is by no means a prerogative of such religions.
Dansk resumé: Artiklen behandler eksempler på snavs, anomisk adfærd, død og råddenskab som religiøst produktive og forløsende i fire vidt forskellige traditionelle religioner: Shinto, oldtidens ægyptiske religion, klassisk indisk religion og græsk religion. I alle fire sammenhænge er motivet mytologisk forankret, og det giver først og fremmest mening som et rituelt virkemiddel, en del af det symbolske akkompagnement til rituelle forvandlinger. Som andre har vist, giver motivet også god mening i såkaldt post-aksiale religioner, hvor forløsning i højere grad forstås som et indre, subjektivt gennembrud – men det er altså ikke forbeholdt disse.
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Άνθης, Μιχάλης Κ. "ΜΙΧΑΛΗΣ Κ. ΑΝΘΗΣ, Κώδικες έμφυλης αναπαράστασης στο εικαστικό έργο του Νίκου Εγγονόπουλου. Διακειμενική προσέγγιση." Σύγκριση 31 (December 28, 2022): 51–62. http://dx.doi.org/10.12681/comparison.31273.
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Decoding gender representations in some paintings of Nikos Engonopoulos. An intertextual approach This paper approaches the narrative codes Nikos Engonopoulos used to present, in some of his paintings, the theme of gender representation with the conflicting extensions at an ideological and social level. His surrealist view is potentially a form of denouncement and subversion of dominant stereotypes and traditional meanings of the gender roles of his heroes or heroines. The paintings, which are selectively presented in this paper, reveal Engonopoulos's consistency towards the ethical, ideological, and social principles and ideals of surrealism as well as his sensitivity toward issues related to gender relations. A starting point originating from ancient Greek mythology that stimulates his imagination is the concept of metamorphosis which is dominant in Greek myths. From the cycle of Ovid's Metamorphoses, Engonopoulos selects two myths and creates his surrealistic narrative. The first painting is entitled “Io” (1942) and the second is “Nestor” (1958). Ηorned “Io” (Selene) in Engonopoulos's painting, through its Ovidian origins, incorporates amatory, social (gender violence), aesthetic and psychoanalytic symbolism. Engonopoulos also chooses and paints in the second painting the figure of Nestor mediated, however, by the poetic writing of Ovid. In reality, Eggonopoulos tells the story of Caeneus, originally a woman named Caenis, which has all the characteristics of paradox, and irrationality, and is the story of the transformation of a woman into a man. The visual narrative through which Engonopoulos deconstructs gender stereotypes is analyzed in two more of his works. The first bears the misleading title “Chalkis” (1955). In this painting, Engonopoulos depicts Lykophron, a poet from Chalkis but in reality, he is talking about his work entitled “Alexandra” (Kassandra), a poem with cryptic references. Based on relevant allusions to the latest Greek literature, the codes of gender representation are finally identified in Engonopoulos's work entitled “La fanciulla di Zante” (1952), which is a reference to the lyrical poem “He Pharmakomeni” by Dionysios Solomos. Conclusively, the paintings analyzed in this paper, in addition to the scope of Engonopoulos's reading literacy, also reveal his multi-layered visual discourse.
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Cioancă, Costel. "Pentru o poetica a imaginarului: xilogeneza în basmul fantastic românesc." Anuarul Muzeului Etnograif al Transilvaniei 35 (December 20, 2021): 53–79. http://dx.doi.org/10.47802/amet.2021.35.03.
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Configuring a certain form of life and a (different) image of the body-taken, the reason for the birth of a fairytale hero from a wood (xylogenesis), anchors the subject under discussion in an area of the mythical. The interpretive auspices given to wood/tree by archaic cultures, have positioned it almost invariably in the orderly symbolism of the centre (to the World). From the well -known cosmic tree of Old Testament mythology (the „tree of life”) to the famous Yggdrasil of Scandinavian mythology, not to mention the tree of enlightenment Bodhi Gaya, the symbolism of the centre-tree of the World (cosmic tree) is broadly the same. In the imaginary-memory cultural relationship aiming at researching the symbol- ism given to the tree/wood over time, the Romanian cultural space was no exception. We have archaeological references that convey the symbol of the sacred tree (fir tree) present on Dacian pottery; we have studies dedicated to the evolution of the symbolism of the cosmic tree on the traditional costume or to the „taking care” of a funerary tree, to the presence of the tree of life in the portals of some Saxon churches, to the motif of the tree of life in Romanian folk architecture etc. The documentation for this study revealed me, by consulting the anthologies of Romanian fairy tales, some interesting aspects taken for this reason at the level of the fantastic epic. None working mechanically, all reflecting the process of the archaic system of symbolic thinking: without immutable patterns, without refractory visions, but always with a symbolic nucleus in the deep layer of the epic. Considering the structural particularities, the coherence and the specificity of the motif approached in the present study, it must be said that at the level of the Romanian fantastic fairy tale we detected, besides the delimits and at the same time „revolves” around xylogenesis, with ontogenetically- different nuances: wearing wooden clothes or living in a tree to avoid incest, with the opening of the tree only through a magical invocation; heroes and/or animals with „name of a tree” but without having to deal with a proper xylogenesis; the passing away of fairytale characters as a result of some existential-human tragedies, in symbolic forms (metamorphosis in trees); varies. Keywords: imaginary, phenomenology, hermeneutics, Romanian fairytale, xylogenesis.
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Vasylenko, Vadym. "THE POETRY BY MYKHAILO OREST: IDEAS AND FIGURATIVE STRUCTURE." Слово і Час, no. 2 (April 30, 2024): 51–69. http://dx.doi.org/10.33608/0236-1477.2024.02.51-69.
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The paper explores the structure of Mykhailo Orest’s poetry, delving into its main elements such as concepts of time, forest, silence, and word, as well as the motives of eschatologism and reincarnation. It focuses on the ideological and aesthetic originality of Orest’s poetry, examining his views on the nature of language and the essence of art. The distinctive feature of Orest’s poetry is a metaphor of time that comprises various philosophical meanings, including the eschatological understanding of time as “the world of the night,” the era of “the departure of God,” and “the end of things” as opposed to the concept of “the eternal day.” Orest’s eschatological poetics is rooted in medieval imagery and biblical metaphors. His poetic vision of the Apocalypse combines motives and images of diverse meanings and origins. Orest’s pantheism is seen as growing from romantic aesthetics, primarily the works of German romantics. The poet’s pantheistic ideas find expressive reflection through the cult of the forest, the symbolism of trees, particularly the archetype of the world tree. They are also related to the myth of birth and death, interpreted in Orest’s poetry, and the motive of metamorphosis. Medieval mythology takes a special place in Orest’s poetic world. In particular, the poet reinterprets the myths of Grail, Parsifal, Lohengrin, and Tannhäuser. The creative thought of Mykhailo Orest was constantly in search — a romantic inclination towards the irrational to a conscious interest in the world of things and the establishment of a complex system of relationship with it.
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Zolotukhina, Anastasia. "Elusive Hermes: The Problem of Identification of Hermes and Thoth and the Mystery Aspect of Hermeticism." Ideas and Ideals 14, no. 4-1 (December 27, 2022): 70–82. http://dx.doi.org/10.17212/2075-0862-2022-14.4.1-70-82.
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The article treats the history of the identification of the Greek Hermes and the Egyptian Thoth, which eventually brought to existence the figure of Hermes Trismegistus, the founder of Hermeticism. The treatment of the complex genesis of this figure is connected with the solution of an important question for understanding the phenomenon of Hermeticism: what significance did Hermeticism grant to the mystery component? The problem stems from the structure of the Hermetic Corpus itself, which consists of philosophical texts of Greek origin and esoteric texts dating back to the Egyptian tradition. The history of Hermeticism is traced in the article as the history of the mutual influence of Ancient Egypt and Ancient Greece. Through the figure of Pythagoras I establish a connection between Pythagoreanism, Hermes and Egyptian mysteries. Plato, then, gives an original view of Hermes and Thoth; the next step is a transition to the Hellenistic Egypt, where the two deities were identified. The final step is the first evidence of Hermes Trismegistus and its origin. The article examines the reasons and possibilities for such an identification: the main functions of Hermes and Thoth, which at first glance are identical, present some discrepancies. First, the function of psychopompos: I draw attention to the concept of memory, power upon which is unique to the Greek Hermes; second, the power upon word, logos: while Hermes has the realm of the spoken word, Thoth is associated with the written text and thus magic (magical Egyptian practices are based on the power of the written word). The metamorphosis of Hermes from god to daimon and, finally, to man is also important (on the basis of the evidence of Plato and later hermetic mythology): this provided Hermes with the opportunity to become a central figure and conductor of mystical teachings, like Orpheus.
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Vasiliu, Laura Otilia. "Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia]." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 108–23. http://dx.doi.org/10.2478/ajm-2019-0006.
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Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poetic form of the ancient tragedies signed by Euripides, Aeschylus and Sophocles. Significant Romanian musical works written in the avant-garde period of 1960 to 1980 – Doru Popovici’s opera Prometeu, Aurel Stroe’s Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia III – The Eumenides, Pascal Bentoiu’s The Sacrifice of Iphigenia – to which titles of the contemporary art of the stage are added – Cornel Ţăranu’s Oreste & Oedip – propose new philosophical and artistic interpretations of the original myths. At the same time, the mentioned works represent reference points of the multiple and radical transformation of the opera genre in Romanian culture. Emphasising the epic character, a heightened chamber dimension and the alternative extrapolation of the elements in the syncretic complex, developing new modes of performance, of sonic and video transmission – are features of the new style of opera associated to the powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre, its novel artistic value being confirmed by an important international distinction offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television Broadcasting Company in Rome. The poetic quality of the text quoted from the masterpiece of ancient theatre, Euripides’ Iphigenia in Aulis, the hymnic-oratory character of the music, the economy and expressive capacity of the compositional means configured in the relationship between voice, organ, percussion, electro-acoustic means – can be associated in interpreting the universal major theme: the necessity of virgin sacrifice in the process of durable construction.
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Arun Singh Awana. "Reimagining the Myth of Ahalya: A Feminist Reading of Nandini Sahu’s Poem Ahalya’s Waiting." Creative Saplings 1, no. 01 (October 22, 2023): 131–39. http://dx.doi.org/10.56062/gtrs.2023.1.01.420.
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In the last two decades of the new millennium, as far as Indian Writing in English is concerned, the focus has shifted from the mainstream characters to the marginal figures of the Indian epics which is evinced by a renewed interest in Indian mythology through numerous retellings in the recent past. These retellings are unique in the sense that the focus is mainly on women and marginalized characters thereby offering fresh perspectives of interrogation and interpretation and also foregrounding new sensibilities in the process. Hence, in the recent times, more specifically from a women-centric perspective, appropriations and reworkings of the central women characters from two prominent Indian epics, that is, the Ramayana and the Mahabharata, can be observed in the form of folk songs by rural women as well as by women writers attempting to dissect the traditional narratives from a feminist perspective.
In the quest of understanding the experiences and values that shape the collective consciousness of a given society, epics serve as an important tool of exploration as they continue to hold influence over the masses even today. Additionally, epics continue to form an important part of the cultural domain, and hence, all such appropriations serve a very specific purpose among many vis-à-vis tapping into the potential of traditional narratives to act as a resource in so far as understanding and interrogating gender politics and dominant ideologies and at the same time offering subsequent corrective measures is concerned.
‘Ahalya’s Waiting’, a poem by Professor Nandini Sahu, then, seeks to embark upon two important projects, that is to unravel and interrogate the gender politics and offer alternative sites of resistance against the dominant ideologies that continue to impinge upon the aspirations of women even today. The poem features in her anthology of poems titled A Song, Half and Half (2022). Moreover, the poem portrays not only the unjust treatment Ahalya is subjected to after she has been deceitfully seduced and raped by Indra and her subsequent metamorphosis into a stone owing to the curse by her husband sage Gautama but also concerns itself with her assertion of self and claiming subjectivity as its central theme.
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Coleman, K. M. "Tiresias the Judge: Ovid, Metamorphoses 3.322–38." Classical Quarterly 40, no. 2 (December 1990): 571–77. http://dx.doi.org/10.1017/s0009838800043251.
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Incongruity and anachronism characterize Ovid's treatment of the gods and mythological figures in the Metamorphoses; frequently the resulting discrepancy between the superhuman world of mythology and characteristic aspects of Roman society serves to pillory that society as well as to undermine the dignity of the traditional mythology. Linguistic parody is one of the tools Ovid uses to highlight these discrepancies. An example recently noted is that of the serenade delivered by Polyphemus the landlubber to his marine beloved, Galatea (Met. 13.789–869): by casting this in the form of Gebetsparodie, Ovid mocks the literary topoi of the paraclausithyron as well as reducing the heroic status of the mythological protagonists. I suggest that in Tiresias’ brief appearance in Metamorphoses 3 Ovid imitates the pedantic locutions of jurists’ language in order to demonstrate how trivial and undignified are the preoccupations of the bickering Olympians.
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Chengdong, Zhang. "The Motif of Losing Oneself in The Novel Generation “P ” by Victor Pelevin." Humanitarian Vector 16, no. 1 (February 2021): 74–82. http://dx.doi.org/10.21209/1996-7853-2021-16-1-74-82.
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In traditional Russian literature, the motif of losing oneself regularly serves as the motivation for spiritual transformation and search for salvation of the character, promoting the plot of a literary text and creating new types of characters. However, it is not difficult to notice the transformation in the utilization and implementation of this motif in the plot composition of postmodern texts based on the principle of uncertainty and randomness, which is opposed to the teleology of the classical narrative. The relevance of the topic is due to the insufficiency of research on such changes, especially in the postmodern works by Viktor Pelevin. Though there have been several observations on Pelevin’s textual structure, the role of motifs in organizing and constructing the plot remains outside the scope of researchers’ attention. This article aims to reveal the role and specifics of the motif “the loss of oneself” as a plot-forming component in the novel Generation “P” by V. O. Pelevin. Based on the contemporary motif theory, it particularly pays attention to the context of allomotifs and events associated with the motifeme of losing oneself, following A. Dundes, who understands the motifeme as the basic unit in the paradigmatics of the narrative, and allomotifs as its syntagmatic variants. Through analyzing various variations of allomotifs “the loss of oneself” (losing the feeling of eternity, symbolic death, metamorphosis, manipulation, etc.), the paper attempts to reveal constructive components of the narrative structure in this novel, which determined its artistic semantics. Arguing the tragic essence of the individual value orientation on consumerism in the context of the eschatological media mythology, it also finds out that Pelevin constructs the plot as Tatarsky’s rising up the career ladder, accompanied by the loss of personality, the replacement of Homo sapiens by Homo Zappiens. To achieve this purpose, he widely uses different schemes that implement the emic motifeme through various variations of allomotifs. That’s why, the success of the protagonist in the ending does not mean the spiritual salvation, but the totality of submission to the God of money and immersion in the void, where the way out of the new social and mental impasse is impossible not only for the protagonist but also for the novelist himself. Keywords: Victor Pelevin, Generation “P”， motifeme of losing oneself, set of allomotifs, mythopoetics
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Fürst, Isidora. "Themis and Dike – Justice in Greek Myth and Tradition." Vesnik pravne istorije 2, no. 1 (December 18, 2021): 9–39. http://dx.doi.org/10.51204/hlh_21101a.
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The understanding of law in Ancient Greece was based on the religious interpretations of human nature and natural laws. Two Greek goddesses were representatives of justice and fairness. In the ancient sources Themis is presented as a goddess and prophetess, one of the Titans and the daughter of Gea and Uranus. She is a symbol of divine order, justice, natural law and good customs. Dike, the daughter of Themis, is the goddess of justice and truth, the protector of rights and courts of justice, the arbiter, the symbol of honor, the goddess of revenge and punishment. In early Greek culture and poetry, the terms themis and dike represented justice in the meaning of cosmic order, natural law, and legality. The paper analyses the Hellenic notions of justice, fairness and legality embodied in the phenomena of themis and dike. Nomos (law) is just only if it is in harmony with themis, and law is valid only if it is just. The paper presents the doctrines of Hellenic writers, poets and playwrights on justice and law, with special reference to the influence of mythology on Hellenic law. Publius Ovidius Naso’s work „Metamorphosis”, which speaks about Themis’ role in the creation of the world and the salvation of the human race is one of the greatest sources about this goddess. In Homer’s „Iliad” and „Odyssey”, epics that sing of the heroic spirit, justice is shown in the motives, intentions and behavior of the participants in the event, mostly heroes. The poet Hesiod, famous for the poems „Theogony” and „Works and Days”, moves away from the heroic virtues of people and portrays the gods as bearers of moral power and guardians of justice. In the light of legislative reforms, Solon’s dike represents the progress and well-being of society through economic reforms, which is why justice and injustice refer only to legal and illegal acquisition of wealth and its effect on the community. Aeschylus’ „Oresteia” shows the principle of justice based on talion, according to which the punishment has to be identical with the committed crime. One of the greatest Ancient Greek playwrights, Sophocles, based his play „Antigone” on the conflict between the laws of men and the laws of gods. According to Herodotus, the greatest Ancient Greek historian, the actions of the gods govern human destinies and historical events. The idea of justice in Ancient Greece was all throughout its transformation based of the universial concept of natural balance.
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Cremin, Kieran. "Kieran Cremin on mythology, contextual sensitivity, and the monstrous - Werewolf: The Architecture of Lunacy, Shapeshifting, and Material Metamorphosis Edited by Caroline O’Donnell and José Ibarra Applied Research and Design Publishing, 2021 453 pp. Paperback: 9781951541132 Price: £26.95." Architectural Research Quarterly 26, no. 3 (September 2022): 293–96. http://dx.doi.org/10.1017/s1359135522000276.
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Issa, Hoda. "Metaphysik der Metamorphose im Werk von Barbara Frischmuth." Literatur für Leser 40, no. 1 (January 1, 2017): 15–38. http://dx.doi.org/10.3726/lfl012017k_15.
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Im Anfang war die Ur-Masse oder das Ur-Wasser, bis die einzelnen Geschöpfe daraus hervortraten. Darüber sind sich bisher mindestens Evolutionisten und Mythologen einig. ,,Der Kosmos war nach ägyptischer Vorstellung nicht aus dem Nichts, sondern aus dem Eins, der undifferenzierten Ur-Einheit, dem Nun, entstanden.“1 Die Schöpfung erscheint somit zunächst als ein Akt der Grenzsetzung, damit die verschiedenen Geschöpfe entstehen konnten. Die Grenzsetzung war in diesem Zusammenhang ein kreativer Akt. Weil jedoch Kreativität kein Zustand, sondern ein fortlaufender Prozess ist, musste die initiale Grenzsetzung für die Entwicklung kompatibel gemacht werden, damit die Schöpfung nicht in einem Zustand erstarrt, d.h. damit sie als Leben weiterbestehen kann. So wurde die Metamorphose gleichsam als Fortbestandskomponente, als fortgesetzter Schöpfungsakt eingebaut, und so hat die Schöpfung ihren innigen Bezug zur Kreativität behalten. Wiederholte Hinweise u.a. auf Ernst Haeckels Kunstformen der Natur und Karl Blossfeldts Urformen der Natur in Barbara Frischmuths Werk verbriefen diese ursprüngliche Einheit von Leben und Kreativität, die in Woher wir kommen im Kapitel ,,Ada“ die Künstler grübeln und über das Verhältnis von Kunst, Natur, Leben und Kreativität um- und neu nachdenken läßt.2 Barbara Frischmuth sieht diese Einheit jedoch auch im Bereich der Mythologie wirksam, deren Formen sie bis in die Mystik weiterverfolgt.
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Ponomarev, S. B., and G. M. Tikhonov. "PRISON SUBCULTURE IN THE CONTEXT OF THE DIALECTIC TRIAD." Intelligence. Innovations. Investment, no. 2 (2021): 117–26. http://dx.doi.org/10.25198/2077-7175-2021-2-117.
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The article contains the experience of socio-philosophical analysis of the prison subculture phenomenon. The relevance of this study is due to the transformation of the basic culture of society traditional values under the influence of the criminal subculture, the development of its new socio-cultural spaces, observed in recent decades. The aim of the work is to analyze the evolution of the prison subculture from the perspective of its interaction with the culture of society in the context of the dialectical triad «thesis-antithesis-synthesis». The definition and the main characteristic features of the prison subculture are given. The main stages of its evolution are considered in the context of interaction with the basic culture of Russian society. It is shown that the main factors influencing the metamorphosis of the prison subculture are: the high number of convicts, the presence of passionarity in the Soviet penitentiary system, the detachment system of containing convicts, the unsuccessful results of the experiment carried out in the 60s of the twentieth century to reform the penal system, negative consequences economic and social reforms of the 90s. It is noted that as a result of long-term cultural genesis, the prison subculture has the following characteristics : 1) a rigid hierarchy of the social structure of the prison community with the existence of strata of «outcasts» 2) the presence of a developed system of prison mythology, customs, symbols and taboos 3) the presence of a «control center» as the group «Thieves in law», as well as channels of information transmission 4) high adaptability of the penitentiary subculture to external conditions 5) the presence of a catchy and attractive «thieves ‘ro¬mance» and «thieves’ ideology» 6) the ability of the prison subculture to reproduce itself 7) a high degree of cohesion of prison carriers subcultures 8) the spread of the norms of the prison subculture to the majority of the population of correctional institutions. In the development of the prison subculture, the authors have identified two cycles («big» and «small»). The «big cycle» describes the global relationship between the prison subculture and the basic culture of Russian society, «small» – the interaction of collectives of convicts and staff of correctional institutions influenced by the prison subculture. In both cycles, three stages of development are distinguished, characteristic of the dialec¬tical triad. The practical significance of the work lies in comprehending the ongoing changes with the subsequent adoption of managerial decisions aimed at leveling the spread of the norms of the prison subculture in society.
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Yang, Yixuan. "The Embodiment and Interpretation of Greek Mythology in The Renaissance: Analyzing Perseus with The Head of Medusa." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 603–7. http://dx.doi.org/10.54097/tjamp162.
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Greek mythology had a significant influence on the arts and literature in the Renaissance. From the epic poems of Iliad and Odyssey and the ancient Theogony, to the well-known plays of Greek tragedy and modern adaptations of the gods and heroes in both literature and screens, Greek mythology is foreign to no one. This dissertation aims to discuss the embodiment and the inventive interpretation of Greek mythology in a piece of Renaissance artwork Perseus with the head of Medusa. It looks into the original story from Hesiod’s Theogony and Ovid’s Metamorphoses and analyzes the symbolic influence of classical traditions. Expanding the contextual perspectives puts the artwork on a wider stage of the society of the time and examines the semiotics within this sculpture that show the unique Renaissance interpretation. The Renaissance concept about secularism, rationalism, and individualism is also explained through the iconography analysis and the comparison with the ancient artwork. With the help of useful references, this dissertation incorporates aspects like art, mythology, literature, politics, social psychology, and ideology to offer some knowledge of the sculpture by Cellini as well as the Renaissance world.
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Päällysaho, Pieta. "Metamorphoses of Shamed Bodies." Epoché: A Journal for the History of Philosophy 25, no. 2 (2021): 269–79. http://dx.doi.org/10.5840/epoche202162185.
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In this paper I explore the connections between shame and embodiment in Euripides’s play Helen. The paper focuses on the play’s underlying theme of sexual violence and rape, and on the descriptions of metamorphoses that the mythological female victims often undergo in the face of rape. In my analysis on shame and embodiment I apply two insights from Giorgio Agamben’s analysis of the phenomenon of victim shame in The Remnants of Auschwitz. These are, first, the definition according to which shame is “to be consigned to what cannot be assumed”—that is, to be consigned to one’s self, being and physical body—and second, the claim that in shame one is affected by one’s own (bodily) passivity. Building on these definitions, I explore the intimate connection between shame and embodiment at work in Helen. As a result we can see how the female metamorphoses before or after sexual violence—in Euripides’s play and in Greek mythology in general—can be read in terms of victim shame. Furthermore, I suggest that this shame of the victims of sexual violence originates from the very nature of the crime itself: from being forced to experience the body’s abject passivity.
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Meier, Christel. "Petrus Berchorius bei den Dunkelmännern." Frühmittelalterliche Studien 57, no. 1 (October 1, 2023): 157–75. http://dx.doi.org/10.1515/fmst-2023-0007.
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Abstract With his ‘Ovidius moralizatus’ ( c. 1340 ), a Christian-allegorical interpretation of Ovid’s Metamorphoses, Petrus Berchorius ( Pierre Bersuire ) significantly contributed to the rehabilitation of Classic mythology across Christian Europe, and the treatise was widely distributed in various manuscripts for almost two centuries. When it first appeared in printing in 1509, however, the book encountered a significantly different intellectual environment, and it became involved in the dispute between traditionally minded Dominicans and a group of pre-reformation humanists which escalated in the ( in- )famous ‘Pfefferkorn controversy’ at Cologne university. Its humanist critics mocked the work of the alleged Dominican Berchorius ( in fact, he had been a Benedictine ) in their famous satire ‘Epistolae obscurorum virorum’, ridiculing Berchorius’ Christian interpretation of Classical mythology.
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Gnezdilova, Elena. "MYTHOLOGY OF ORPHEUS IN CLASSICAL CULTURAL TRADITION." Проблемы исторической поэтики 19, no. 3 (September 2021): 35–52. http://dx.doi.org/10.15393/j9.art.2021.9542.
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The article examines the peculiarities in the formation of the Orpheus mythologeme in the ancient cultural tradition. An analysis of the works of ancient authors, including Pindar, Aeschylus, Euripides, Apollonius of Rhodes, Virgil and Ovid allows to single out the specifics of creating the image of Orpheus. The latter is seen by the above-mentioned authors not only as a poet and musician who had lost his beloved Eurydice, but also as the founder of cult rites known as Orphic mysteries. “Orphism” as a system of religious and philosophical views became most widespread in the era of Peisistratus in the 6th century BC in Attica. Dionysus, revered by the Orphic, was important for farmers as a deity of eternal rebirth and powerful natural forces. In the ancient cultural tradition, the image of Orpheus develops under a double sign: both Apollo and Dionysus. The ideas of Orphic philosophy can be found in the religious and philosophical teachings of the Pythagorean school and in the writings of Plato. The original transformation of the Orphic-Pythagorean ideas and the mythologeme of Orpheus occurs in Virgil’s Georgics and Ovid’s Metamorphoses, which are also the subject of this article. The comparative historical analysis of artworks and philosophical treatises of antiquity carried out in the course of this study indicates that the mythologeme of Orpheus in the ancient cultural tradition is an example of the embodiment of the syncretic unity of art and religion in the archaic consciousness.
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Weiss, Sonja. "The mythology of the divine in P. Beroaldo's Commentaries on Book 11 of Apuleius' Metamorphoses." Acta Neophilologica 44, no. 1-2 (December 31, 2011): 141–50. http://dx.doi.org/10.4312/an.44.1-2.141-150.
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The article investigates Beroaldo's approach to the theological themes of Book 11 of Apuleius' Metamorphoses focusing on his interpretation of the figure of Isis, represented by Apuleius as the Moon goddess of many names. A symbol of Nature, Fortune and Fate, at the same time changeable and motionless, Isis is no less than the transcendent deity ruling the universe. In Beroaldo's commentaries, Antiquity not only coexists with Christianity but actually stimulates it, and their symbiosis is an edifying model proposed by Beroaldo to the audience of his readers and students.
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SIKHARULIDZE, Ketevan. "The Versions of Opposite Mythologems." Journal in Humanities 6, no. 1 (January 25, 2018): 59–62. http://dx.doi.org/10.31578/hum.v6i1.352.
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Mythological thinking does not have any ethnic and religious frames; it encompassesthe whole universe (to the scale that every specific society with mythos thinking has)and by its logic attempts to explain the consequences of reasons in it. That’s why despitediversity of mythology, we often encounter universals there generated from homogenousperceptions, more specifically, they represent more or less different versionsof development of one mythologem.One of such images is an enchained character who has a rather long mythological biographyfull of metamorphoses. It was formed from the most dramatic story of mythologyof old peoples. This is a myth related to cosmogony process about struggle of oppositeforces where two origins fight each other. Punishment for the defeated character is homogenous:he is located in confined space and thus his destructive force is suppressedin order to save the world from destruction. All forms of punishment are meant for isolationof the negative character. These perceptions may have generated the means ofpunishment of criminals in real life (confinement, keeping in jail…).The myth of struggle of the opposites gave rise to the folkloric motive of Struggling withGod. It was widely spread in folklore of peoples of the world and created a gallery ofpunished-chained heroes. These are gods, zoomorphic or monstrous creatures, goliaths,heroes, even people. This kind of realization underwent multiple transformation invarious epochs, various cultural traditions. Its biography starts with the character of godof the old generation being in confrontation with the new generation which later transformedinto an evil spirit or a monster. The life of this character has become so diversein folklore that it became an unfairly punished kind of a hero whose release was relatedto protection of people’s wellbeing and national dignity.
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Gordon, A. "The Ideological Convert and the "Mythology of Coherence": The Contradictory Hans Kohn and his Multiple Metamorphoses." Leo Baeck Institute Yearbook 55, no. 1 (January 1, 2010): 273–93. http://dx.doi.org/10.1093/lbyb/ybq026.
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Kotaridi, Yuliya G. "Philosophical Versions of the Eternal Storyline About Cupid and Psyche: from Neoplatonism to Christianity." Проблемы исторической поэтики 27, no. 1 (February 2020): 36–55. http://dx.doi.org/10.15393/j9.art.2020.7302.
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<p>The subject of this paper is the transformation of the poetics of Cupid and Psyche plot in its national and historical modifications in European literature. The methodology of the analysis is based on mythological studies (A. N. Veselovsky, A. F. Losev) and genre studies (M. M. Bakhtin, S. S. Averintsev, E. M. Meletinsky, etc.). Allegorization of the images of Love and Soul appeared in the antiquity long before the novel by Apuleius “Asinus Aureus” or “Metamorphoses” (the 2<sup>nd</sup> century AD). In a Greek epigram Eros is often associated with the element of fire that puts the soul — “Psycho” — to a variety of ordeals and tortures. In “Metamorphoses” by Apuleius the tale about Cupid and Psyche can be seen as an allegorical narration about the soul traveling around the world and looking for ways to Love and eternal life. Later, the parabolic core of the ancient story was enriched with new motifs from the arsenal of mythology, Neoplatonism and Christianity. The archetypical basis and platonic paradigm of the plot in “Metamorphoses” by Apuleius go together in a syncretic unity, that provides universality and polysemy of the different versions of tales about Cupid and Psyche in European literature. The neoplatonic version of the story, which interprets the reunion between Cupid and Psyche as the Union of God and Soul, is represented in literature by writings of Fulgentius, Boccaccio, Heine, Coleridge, Żuławski and others.</p>
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Babunych, Ulia. "Historical background, philosophical and aesthetic platform and ideological principles of Ukrainian modernism." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 38–52. http://dx.doi.org/10.37131/22524-0943-2019-39-03.
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Ukrainian culture from the second half of the nineteenth century. developed with such main features - the transformation of a purely cultural movement into a national liberation movement, the formation of similar features in the cultural-process processes with the European laws. At the end of the nineteenth century. associates of Ukrainian culture, the main task of their position is the solution of a number of political and socio-economic issues. The process of national-cultural revival has gained strength since the 1880's in both parts of Ukraine and at the beginning of the 20th century. already yields concrete results. In Lviv there are active centers of cultural development. Similar processes have been taking place in the other part of Ukraine, activated by the idea of the revival of the Ukrainian national style. At this time, the intellectuals are much more cohesive, trying spiritually and politically self-determination. These moments were extremely important, for at that time, eastern and western parts of Ukraine, notwithstanding certain ideological points of contact, were not only politically delineated, but also mentally, culturally and spiritually. In Ukraine, the end of the nineteenth and early twentieth centuries. is characterized by changes in the cultural situation, which are marked by modern (modern) influences from the European West in the field of culture, philosophy, and creativity. The national renaissance acquires a qualitatively new meaning, characterized by the creation of distinctive national forms in all branches of artistic culture. For Ukrainian modernism, the inherent dependence on the geocultural features, the attachment of its representatives to their environment. At the same time, we observe differences in the genre specificity of modernism in the western and eastern Ukrainian territories, due to the influence of Russian or European art. The geographical location of Ukraine between the two parts of the world - Europe and Asia - led to the creation of a unique version of modernism in our territories (tied to national origins, folk folk sources, historical cultural heritage). Stylistic inspirations from different sources flocked to Ukraine, creating polyphony of its modernist art. The contradictory nature of the transitional period has been reflected in the formation of ideological settings of the art of the first third of the twentieth century. Modernism in Ukraine is characterized by an organic combination of the latest philosophical and aesthetic theories and traditional features of local culture. Philosophy played an important role in shaping the foundations of the "new" art and its artistic practice, giving an alternative way for a better understanding of it in the context of the metamorphosis of social consciousness. At the end of the XIX - in the first third of the twentieth century. especially the theories of intuitionism, existentialism, irrationalism, and so on. The theoretical works of Ukrainian artists of the first third of the 20th century, often with a philosophical and aesthetic basis, serve as a significant contribution in the context of the formation of not only a national version of modernism, but also a pan-European one. As a basis for artistic creation, modernists choose a symbolic-allegorical beginning, often serving as both generally accepted and purely national archetypes. If we sum up the process of national-cultural revival in Ukraine in the late nineteenth and early twentieth centuries, it should be noted that the national movement stimulated the political, social, economic, cultural, and scientific progress of society. Among the values of the intelligentsia was chosen intelligence of Western ideas, including ideas of modern Western philosophy and culture. Worldview principles of modernism in Ukrainian art include interpretation of the historical national and world creative heritage, the use of symbols and archetypes, mythology of creativity, rethinking the achievements of folk art and folklore traditions. Such directions of search determine the conceptual content of the Ukrainian art of this period and the main ideas of creativity of representatives of modernism.
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Lam, Andrzej. "Exempla aus Ovids Metamorphosen in Sebastian Brants "Narrenschi"." Studia Germanica Gedanensia, no. 40 (December 22, 2019): 11–24. http://dx.doi.org/10.26881/sgg.2019.40.01.
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Unter den rund vierhundert Beispielen aus der Bibel, der Mythologie und Geschichte, die in Sebastian Brants Das Narrenschiff dem Unterricht und der Ermahnung dienen, stammen mehr als zwanzig aus Ovids Metamorphosen. Brant nimmt keinen direkten Bezug au Ovids Werk und erwähnt den Dichter nur einmal als den Autor der Ars amatoria (‚bůler kunst‘), die Ovid nichts als Unglück beschert habe. Die meisten Verweise au Ovid erscheinen im Kapitel XIII und einzelne in den Kapiteln XXVI, LIII, LX, LXIV und LXVII. Sie sind anspielend und verkürzt, sie betreen die beklagenswerten Folgen von sündhaer oder koposer Liebe, Eiersucht und Hass sowie selbstverliebter und törichter Unbesonnenheit. Sie stellen Codes dar, die sich nicht entschlüsseln lassen, ohne die Quelle zu kennen. Daraus lässt sich schlussolgern, dass Brant entweder davon ausgeht, dass der Leser über die erorderlichen Kenntnisse verügt, oder dass er ihn auordert, diese zu erlangen. Die Regeln des Genres, in diesem Fall der moralischen Satire, erwiesen sich bei Brant stärker als die philosophische Bedeutung der mythologischen Botscha.
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Hassan, Zena D. Mohammed, and Dheyaa K. Nayel. "The Evolution of Female Characters From Antiquity to Modernity: An Examination of Marinna Carr's and Carol Lashof's Adaptations of Classical Mythology." Journal of Language Teaching and Research 15, no. 2 (March 1, 2024): 374–82. http://dx.doi.org/10.17507/jltr.1502.06.
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Literature relies heavily on mythology. Myths are stories of deities, monsters or immortals which are transformed from one generation to the other. In addition to documenting the religious and cultural experiences of a specific community, myths also outline the consequent literary, artistic and dramatic customs. Some Greek myths have survived for thousands of years because they accurately depict historical events, cultural values, and trends. Among the most famous classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest known record was found in Theogony (700BC) by Hesiod (8 th-7th century BC). A later version of the Medusa myth was made by the Roman poet Ovid (43BC –17/18AD), in his “Metamorphoses” (3-8 AD). Then again, Medea is a tragedy produced in 431 BC by the Greek playwright Euripides(480–406BC) based on the myth of Jason and Medea. Both Medusa and Medea are among the most fascinating and complex female protagonists in Greek mythology which have captivated many writers and playwrights for ages. In the twentieth century, there were many adaptations of both mythological figures; among these adaptations were those made by contemporary American and Irish women playwrights like Carol Lashof (1956-) and Marinna Carr (1964-). This paper examines the myths of Medusa and Medea and analyses the ways these myths are borrowed, refashioned and exploited in Lashof’s Medusa’s Tale (1991) and Carr’s By the Bog of Cats (1998). Both playwrights explore hidden dimensions of the traditional myths, combining elements from the old and modern worlds.
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Holovashchenko, Serhii. "Metamorphoses of the Divine Absolute in the Light of Religious Studies Vision (by the Work of Kyiv Theological Academy Professor Yakym Olesnytskyi “From Talmudic Mythology”)." NaUKMA Research Papers in Philosophy and Religious Studies 8 (November 23, 2021): 48–59. http://dx.doi.org/10.18523/2617-1678.2021.8.48-59.
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The article continues the series of investigations that demonstrate the experience of religious reading of the significant works of prominent Kyiv professors-academics of the last third of the 19th – early 20th century. These works have accumulated a powerful array of empirical material relevant to the history and theory of religious studies. Accordingly, the reconstruction of the field of theoretical positions important for the formation of the “science of religion” in the domestic intellectual tradition is currently being updated.The work of the Hebrew scholar and biblical scholar Yakym Olesnytsky is represented. This researcher was one of the first in the domestic humanities to analyze the “aggadic” layer of Talmudic writing through the prism of comparative-religious and religious-historical approaches. Metamorphoses of biblical images and plots, events of the ancient history of the Hebrew people, which arose under the influence of various mythological, philosophical, and folk traditions, were revealed. There was a real demythologization of “aggadah” from the standpoint of historical and literary criticism.On the basis of a religious reading of J. Olesnytsky’s text, this article traces some metamorphoses of theistic ideas in the process of the rise of Talmudic Judaism. They are analyzed from the point of view of the categories relevant to the philosophy and phenomenology of religion: Religious Experience, the Supernatural, the Another Reality as Sacred, the Absolute. A number of cognitive situations initiated by Olesnytsky, valuable from the point of view of a wider range of disciplines: philosophy and phenomenology of religion, history of religion, sociology and psychology of religion, religious comparative studies have been identified. This experience will be used in further research on the materials of the work of a well-known Kyiv academician.
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Neira, Julio. "Los mitos en la poesía de Caballero Bonald." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 1181. http://dx.doi.org/10.5944/signa.vol28.2019.25115.
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La literatura nace con el mito, en tanto relato de una cosmovisión, y especialmente la poesía se ha nutrido de la mitología en todo su desarrollo. En España ha sido así sobre todo en épocas como los siglos de Oro, en que las Metamorfosis de Ovidio tuvo una amplia repercusión. También la poesía española contemporánea presenta esta influencia, incluso en los periodos en que el realismo y la conciencia social eran predominantes. En este artículo se repasa minuciosamente la presencia continuada y abundante de los mitos en la poesía de José Manuel Caballero Bonald a lo largo de toda su trayectoria. Literature is born with myth, as a story of the cosmos, and poetry has been particularly linked to mythology along the years. In Spain, was mainly so in the Golden Age, when Ovid’s Metamorphoses had a wide impact. Spanish contemporary poetry also has this influence, even in periods when realism and social consciousness were predominant. This paper closely studies the ample presence of the myths in the poetry of José Manuel Caballero Bonald.
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Petrovic, Ivana. "General." Greece and Rome 68, no. 2 (September 8, 2021): 353–60. http://dx.doi.org/10.1017/s0017383521000152.
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One of my favourite undergraduate classes to teach is Greek mythology. At American universities, Greek myth is a popular choice for satisfying humanities credit requirements, and professors are faced with a double dilemma. On the one hand, students have very different levels of knowledge, ranging from, say, a science major with virtually no idea about the ancient world to a know-it-all myth-whiz Classics major at the other end of the scale. The second problem is the choice and organization of material. Tough decisions have to be made, especially if a professor insists on students reading ancient Greek and Latin texts in translation, instead of relying on a modern retelling of myth. Which tragedies to choose? Which sections of Ovid's Metamorphoses? The whole of Homer or just select books? The challenges are real, but the rewards are great. After the initial struggle with Hesiod's Theogony (despite collective grumbling, Hesiod is non-negotiable for me), witnessing the magic of Greek myth at work never ceases to amaze me. In a blink of an eye, the class is passionately defending or attacking Phaedra, or debating fate and the gods; and, of course, everyone is united in hating Jason. It was my early fascination with Greek myth that attracted me to study Classics (the main culprit was the generously illustrated Serbian translation of Gustav Schwab's Gods and Heroes of Ancient Greece) and the crushing sense of responsibility for sparking that first interest in my students is only matched by joy upon seeing it work. I take mythology books very seriously because they are often the gateway to the Classics. Several books on myth landed on my desk this year and I'll start with three general introductions. None of these could serve as introductions to myth for children or young adults, but each could be an excellent first step for those wishing to know more about various scholarly approaches to Greek myths and cults.
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Borovskaya, A. A. "THE NATIVE CITY HISTORY AS A MACRO PLOT OF B. SHAKHOVSKY’S CYCLE OF “POEMS ABOUT ASTRAKHAN”." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 92 (2023): 72–78. http://dx.doi.org/10.37313/2413-9645-2023-25-92-72-78.
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The research object are constant elements of urban space in B. Shakhovsky’s cycle “Poems about Astrakhan”. The article studies the main hallmarks of Astrakhan text, which form the plot of a super-genre unity. The key images and motifs of cycle not only reflect the topography of the capital of the Caspian Sea, its biogeographic, cultural features and architectural appearance, but also reveal the semiotic potential of the city, combining two types of chronotope – water / river and desert. Folk legends and ideas about Astrakhan as a border space form the macro plot. Historical metamorphoses, defining changes in the image of the poet's native land in the context of destructive and creative Soviet mythology, play a special role in the dynamics of the lyrical narrative. The motif of the path performs a structure-forming function in the text of B. Shakhovsky. The architectonics of the text is governed by the principle of juxtaposition of two time layers – past and present. Change of subjects of speech in the poems of the cycle, movement from neutral to “I”- and “we”-narrative is stipulated by conjugation of two storylines: historical and biographical. The research methodology involves a combination of semiotic and structural approaches to the test, methods of motivic, intertextual and mythopoetic analysis.
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Rushton, Emily. "Meta/morphosis." Book 2.0 13, no. 2 (December 1, 2023): 157–65. http://dx.doi.org/10.1386/btwo_00090_7.
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Meta/morphosis is a long-form poetry that acts as the rationale behind wider doctoral research as a practitioner-researcher, which uses performance research as a well-being intervention for young people with socio-emotional mental health conditions through the vehicle of mythology. The rationale behind my research – which explores the navigation of human emotion and aims to create pathways to new becomings () – creative writing felt like the only apt medium. The poem meanders around the original form of Ovid’s Metamorphoses – inspired by the way in which the intertwining internal monologues and visceral feelings of the characters were never too much and, in fact, spurred on. The justification for and exploration of this mode of writing takes the form of a commentary, as is commonplace for ancient texts in Latin and Greek to be presented with an accompanying linguistic commentary. The ‘commentary’ is cut together side by side to the poem as a praxis to emphasize the materiality of how the two ideas can touch and influence/change their form (; ; ; ; ). The poem was performed in 2022 – the exploration of this practice allowed me to fully immerse myself in the epistemology and methodology of what I am hoping to do; it gave grounding to now move forward and begin research with the epistemology, methodology, practice, theory and ethics intertwined.
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Reema Devi, PriyaRaghav. "A Critical Study of Draupadi in Disguise in Context to Power Dynamics." Tuijin Jishu/Journal of Propulsion Technology 44, no. 4 (October 16, 2023): 7520–25. http://dx.doi.org/10.52783/tjjpt.v44.i4.2602.
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Intention and purpose shape an individual’s actions and their results. Social, political, and some personal reasons compel people to disguise their identity. A disguised person begins living in a new form by adopting the respective occupation, name, or fake identity. However, the masked identity could be a temporary solution to problems because it is extremely difficult to hide one’s true identity. True identity reflects one’s principles, ethics, and dispositions. Indian mythology narrates a plethora of cases where Hindu deities or men metamorphose their real identities to serve their purpose. The Mahabharata-the Indian epic also records some such incidents when its characters are bound to act in disguise. However, their intention and purpose justify their actions. Nevertheless, hiding their true identity puts them in a vulnerable position. In VirataParva, we see the five Pandavas along with their common wife Draupadi spend one year at Matsya Kingdom in disguise due to their political tussle with their cousins Kauravas. They adopted different forms and occupations. Draupadi’s disguised identity caused her to work as a maid to the queen of the kingdom. This raises certain questions: By adopting the role, did she face any difficulty as a woman of low rank? How did she deal with the new circumstances? This paper aims to study Draupadi’s character in a new light to the specific narrative in disguise.
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Petrella, Sara. "Dieux en métamorphose : Regards croisés sur la Mythologie, c’est-à-dire Explication des fables (Lyon, 1612) / Gods in Metamorphosis: Overlapping Perspectives on the Mythologie, c’est-à-dire Explication des fables (Lyon, 1612)." ASDIWAL. Revue genevoise d'anthropologie et d'histoire des religions 12, no. 1 (2017): 175–80. http://dx.doi.org/10.3406/asdi.2017.1090.
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Elahi, Babak. "Mirrors of Entrapment and Emancipation." American Journal of Islam and Society 33, no. 3 (July 1, 2016): 115–19. http://dx.doi.org/10.35632/ajis.v33i3.924.
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In 1992, Farzaneh Milani’s groundbreaking Veils and Words brought into dialoguethe fields of Iranian studies and feminist critical theory – two areas ofhumanist inquiry that, in some sense, need each other. Moreover, with workslike Hamid Naficy’s The Making of Exile Cultures (1993), interdisciplinarycritical theory has informed many humanist and social science approaches toIranian literature and culture. These links between integrated critical theoryand Iranian studies can produce compelling and insightful analyses. However,the cadence of such work might be more in tune with one subfield than another.While the content and subject of these studies might include Iranian society,culture, or art, it is often the case that the critical method being deployedis more important than the historical, literary, or social content to which it isapplied. Methodology eclipses the subject of analysis.This is the case with Leila Rahimi Bahmany’s Mirrors of Entrapment andEmancipation (Mirrors). Bahmany’s work tells us more about the feministcritical genealogy brought to bear on the work of Sylvia Plath (d. 1963) andForrough Farrokhzad (d. 1967) than it does about the works and lives of thesepoets themselves. But if, as I note above, these fields do “need” each other,then this book is worth exploring for both feminist scholars and Iranian studiesspecialists. Beyond specialists, however, the work does little to draw in areader not already at least slightly familiar with debates in psychoanalyticfeminist theory of the twentieth century.Bahmany begins her book with the highly suggestive images of Narcissusand Echo from Ovid’s Metamorphoses. However, she quickly movesfrom this basis in classical western mythology to the relevance of these imagesfor psychoanalysis and feminism. Thus, she rapidly establishes a ...
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Tolmatchoff, Vasily. "How "Madame Bovary" is written (Flaubert and his narrator) Part 1." St.Tikhons' University Review. Series III. Philology 70 (March 31, 2022): 33–62. http://dx.doi.org/10.15382/sturiii202270.33-62.
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In a paper, written in polemics with mythology of the Flauberian studies of XX, particularly of the Soviet origin (the so-called realism or new realism, objectivism, impersonality, rationality of Flaubertian manner in “Madame Bovary”, identification of the author and his skills with the narrator, etc.), a figure of the narrator in this novel is discussed in full detail for the first time. This figure, a concrete person and a creator of narrative, is corresponded with Flaubert on various levels (biographical, gender, psychological, rationally creative, intertextual, subconscious) as well as with the characters (including the narrator on his own, his self-reflexion, psychological and psychic complexes, aims, methods and stylistics of narration). Antifeminine dimension of the narrative. «We» of the narrative is interpreted as a controversial sum of “I”, “non-I”, “other I-ies”, shadow projections of “I”, theatrical metamorphoses of “I”. In context of a special position of the narrator bourgeoisness, literatureness of the social consciousness, romanticism, palimpsest of the narrative, the double ending, and also the motives of story-telling and justification of creative efforts are analyzed. Symbolically the main events of the narrator’s world are death and positioning of himself as an inventor of fictions (“the lies”), a highly personal narrative the roots of which are in his school childhood, his mania of additional details and of endless improvement of his text. The narrator as a madman and an author of the madman’s diaries. The characters of the novel as artists. A study of the poetics of repetitions, mirror scenes, colours (blue, red, green), erotics, nature, historical details permits V. M. Tolmatchoff to introduce a rather new interpretation of Flaubert’s work as belonging to romanticism (partially baroqian, partially classical). The paper reconstructs chronology of events, age of the characters and poses a problem of Flaubert as inventor, of a meaning of non-correspondence in his novel between purely fictional time-space and strict historical details.
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Tolmatchoff, Vasily. "How "Madame Bovary" is written (Flaubert and his narrator). Part 2." St. Tikhons' University Review. Series III. Philology 71 (June 30, 2022): 58–84. http://dx.doi.org/10.15382/sturiii202271.58-84.
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In a paper, written in polemics with mythology of the Flauberian studies of XX, particularly of the Soviet origin (the so-called realism or new realism, objectivism, impersonality, rationality of Flaubertian manner in “Madame Bovary”, identification of the author and his skills with the narrator, etc.), a figure of the narrator in this novel is discussed in full detail for the first time. This figure, a concrete person and a creator of narrative, is corresponded with Flaubert on various levels (biographical, gender, psychological, rationally creative, intertextual, subconscious) as well as with the characters (including the narrator on his own, his self-reflexion, psychological and psychic complexes, aims, methods and stylistics of narration). Antifeminine dimension of the narrative. «We» of the narrative is interpreted as a controversial sum of “I”, “non-I”, “other I-ies”, shadow projections of “I”, theatrical metamorphoses of “I”. In context of a special position of the narrator bourgeoisness, literatureness of the social consciousness, romanticism, palimpsest of the narrative, the double ending, and also the motives of story-telling and justification of creative efforts are analyzed. Symbolically the main events of the narrator’s world are death and positioning of himself as an inventor of fictions (“the lies”), a highly personal narrative the roots of which are in his school childhood, his mania of additional details and of endless improvement of his text. The narrator as a madman and an author of the madman’s diaries. The characters of the novel as artists. A study of the poetics of repetitions, mirror scenes, colours (blue, red, green), erotics, nature, historical details permits V. M. Tolmatchoff to introduce a rather new interpretation of Flaubert’s work as belonging to romanticism (partially baroqian, partially classical). The paper reconstructs chronology of events, age of the characters and poses a problem of Flaubert as inventor, of a meaning of non-correspondence in his novel between purely fictional time-space and strict historical details.
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Stundžienė, Bronė. "Lithuanian Cultural Landscape in Folklore from the Perspective of Values." Vilnius University Open Series, no. 5 (December 4, 2020): 81–101. http://dx.doi.org/10.15388/vllp.2020.5.
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In the article, the contemporary human being’s search for values is primarily linked to the folkloristic reflection of Lithuanian cultural landscape. Following the framework of hermeneutics and based on the folkloristic symbolism of landscape in Lithuanian folklore (mainly in the oldest layer of folk songs), the manifestations of a long-lasting solidarity between community and nature are discussed. The focus has been placed on the small community – the family and its immediate relationship with the surrounding nature. In the introductory part of the article, the notion of ritualism is discussed which is based on the universally acknowledged concept of the rites of passage (les rites de passage). Within the context of this concept, the depiction of the public events of family life (the rituals of marriage and death) constituted a solid premise for the investigation of the so-called common places (loci communes) in Lithuanian folk poetry, which in this regard are usually represented by landscape-related narrative segments and symbolism. Folkloristic interpretations of the prominent elements of Lithuanian landscape (trees, water, stones) have been selected for the investigation. The introduction also reveals the importance of a family over an individual in the exploration of a human being’s relationship with the surrounding nature. The first part of the article ‘The Reflections of Anthropomorphic Reception of Trees’ asserts that in the folk songs marked by archaic stylistics, the poetic narrative of trees contains abundant mythopoetic allusions to the constant identification of a human being (usually, a family member) with a tree, as well as other metamorphoses and motifs which attest their mutual dependence. This poetic tradition influences the poetry created by individual authors to this day. The article briefly introduces the meaning of a tree in the world of ancient Lithuanian beliefs and customs and notices the major changes in the purpose of the image of a tree in the late tradition of romances. The second part of the article analyses the long-term trajectories of mythopoetic depiction of water and stones in folklore. It is well known that any traditional culture has accumulated a wide range of meanings which pertain to different forms of water and connote rebirth, renewal, as well as fertility and life. Therefore when the article emphasizes the tropes of being near water, drowning in watery depths, which through the lens of myth and ritual embody the act of love (marriage) in Lithuanian singing folklore, it should be noted that this variation of meaning found in Lithuanian folklore constitutes an organic part of the whole of international aquatic symbolism. The mythicised story of a live stone as reflected in folklore could be partially associated with the folkloristic reception of trees and water. Animation of a stone is revealed through the attribution of the qualities of a live being to a stone (in the legends, they move, communicate with each other, live in families). Contrarily, the lifelessness (immobile state) of a stone is mythicised in cases where people who deviate from moral laws are turned into stones. The mythologem of a stone as the landmark signifying the boundary between this and the other world, as well as the association of stones with sacrality and sacred places visited by deities, is widespread. It is ascertained that the narrative of the sacrality of stones did not cease in the period of Christianity.Therefore, the landscape approach applied in this study provided a possibility to observe how, in folklore, the meanings of different components of landscape organically combine into a cohesive union which operates on the principles of synergy. A conclusion may be drawn that folklore unequivocally asserts the idea of a continuous coexistence of a human being and nature and exalts the perception of nature as an essential spiritual value.
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Joshi, Jagdish, and Neha Hariyani. "WOMAN AS A ‘TRANSFORMER’ IN PAULO COELHO’S THE ZAHIR." Towards Excellence, June 30, 2020, 181–85. http://dx.doi.org/10.37867/te120318.
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Paulo Coelho is an eminent Brazilian writer of the present times. His novels reflect his deep understanding of mythology and mysticism and are a blend of tradition and modernity. Woman plays a significant role in the metamorphosis of the protagonist in Coelho’s novels. This paper intends to study the role of woman in his novel The Zahir, in the light of Campbell’s theory of Initiation in his seminal work The Hero with a Thousand Faces. Campbell’s theory of Initiation accords a central position to woman. She performs various roles and becomes instrumental in bringing about the transformation of the hero. The more the hero initiates into his adventure, the more fascinating does he find the woman, changing herself in accordance with the needs of the hero as dictated by destiny Initially, woman in The Zahir seems to hold a subordinate position. She is even regarded as a mere commodity by the hero. But as the narrative develops, the role of the woman, true to Campbell’s remark undergoes a series of transfigurations, the deeper the hero initiates into his inner quest the subtler the woman becomes. From a mere commodity the woman transfigures into a guide, from a guide into a divine energy, capable of bringing about the inner transformation of the hero.
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Meier, Christel. "Ovidius christianus und Antiovidianus." Beiträge zur Geschichte der deutschen Sprache und Literatur 137, no. 3 (January 1, 2015). http://dx.doi.org/10.1515/bgsl-2015-0035.
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Li, Yvonne. "Elevated Love: Correggio and Michelangelo’s Depictions of The Rape of Ganymede." Inquiry@Queen's Undergraduate Research Conference Proceedings, November 29, 2017. http://dx.doi.org/10.24908/iqurcp.7827.
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Chronicling the lives of the pagan Gods, Metamorphoses was essentially a compilation of stories based on Greek mythology. As the title suggests, the primary theme throughout the work was that of change and evolution. Suggesting that the process was naturally occurring, the stories also sent the message that in spite of any physical transformation, the soul or spirit would remain fundamentally the same. In short, the world was in constant flux but the soul was not. Although this idea ran throughout the epic poem, Ovid’s story was richly layered and comprised of many other aspects, with various themes continuing throughout the book. One reoccurring theme was that of unrequited love, which often involved one character in aggressive pursuit. Jove, otherwise known as Jupiter in Roman mythology, was the supreme God of the Heavens and though he was married to Juno, he often lusted after the most beautiful of mortals in the earthly realm. This presentation proposes that while Ovid’s Metamorphoses provided a starting point for artists, these Ovidian stories were open to interpretation (and reinterpretation). Similar to religious imagery, which was most dominant at the time, they were constantly adapted in art. Examining two different portrayals of the Rape of Ganymede, one by Correggio and the other by Michelangelo demonstrates how Metamorphoses, as the title implies, was able to continually evolve and remain relevant to the changing social values.