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Journal articles on the topic 'Myth in art'
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Alessandra Campoli. "Art, Myth and Memory." VISUAL REVIEW. International Visual Culture Review 7, no. 2 (2020): 199–206. http://dx.doi.org/10.37467/gka-revvisual.v7.2647.
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This paper aims at investigating the relationship between collective and cultural memory, myth, and contemporary art practice. Artists in the past have relied on the power of myth to visually speak to their audience, re-presenting myths in an illusionistic way. Today art is not conventionally telling stories anymore and is disentangled from the need for mimesis. How has the relation between art and myth changed outside the framework of representational art? Is the connection between myth and collective and cultural memory used in contemporary art practice? How do art and myth intersect today?
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Zhao, Yiming, and Dongfang Zheng. "Traditional Chinese Mythology in Animation Art." Highlights in Art and Design 3, no. 3 (2023): 61–63. http://dx.doi.org/10.54097/hiaad.v3i3.11220.
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Chinese traditional myths, as an important part of Chinese culture, have been widely applied and expressed in animation art. From the perspective of animation art, this paper will discuss in depth the expression forms and expression methods of traditional Chinese myths in animation art, including the use of myth elements in animation, the creation of myth characters, the way of narrating myth plots, and the expression of myth meanings. Through analyzing and comparing related animation works, this paper will explore the performance characteristics of Chinese traditional myths in animation art and its relationship with contemporary animation art, so as to provide reference for the inheritance and development of Chinese traditional culture.
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V, Valarmathi. "Art myths in the epic." International Research Journal of Tamil 3, no. 1 (2021): 158–65. http://dx.doi.org/10.34256/irjt21117.
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Art is essentially the one which fantasizes by its aesthetics and provides pleasure through a newer perspective. Nature is the basis for any artistic creation and a creative artist composes literature based on his perseverance love for nature and intellectual vigor. The artist intensely feels that everyone should enjoy what he has enjoyed and this is the uniqueness of art. Myth is the originator of all the arts which came later and myth is employed as the interior focal matter around which the story of an epic nature revolves. We come to know that the ancient Tamilians knew the art of integrating and operating the myths to entertain and enlighten the society.
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Petev, Nikolay. "CONSTRUCTION AND SPECIFICITY OF POLITICAL MYTH AS AN INSTRUMENT OF DIALOGUE AND INFLUENCE." Studia Humanitatis 20, no. 3 (2021): 15–29. http://dx.doi.org/10.15393/j12.art.2021.3762.
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This work analyzes political mythologization, in particular within the framework of the dialectical confrontation between the artificial images of the “Messiah” and the “World Demon”. The purpose of the work is to identify the constructive and functional features of a political myth with a specific teleological purpose. Among others, an important task is to identify the destructive trends caused by the speculative influence of a political myth. The research methodology includes the dialectical method used as a tool for investigating the internal contradictions of the political myth phenomenon This method was also used to analyze the opposition of two artificial images (the “Messiah” and the “World Demon”). The analysis of authenticity (as the correspondence between positioning and content) of political mythologization as a kind of speculative system was used to identify its specifics of functioning and impact on the objects that are the main targets. This method in combination with the primary deconstruction of a monolithic myth is necessary for the subsequent synthesis of the obtained results. The modeling method allowed us to form the characteristic features of a political myth. Some elements of ethical and psychological approaches, as well as the approaches of religious studies were also used to fix the pragmatic and speculative aspects of a political myth. The following results were obtained: 1) aestheticization is an important component of a political myth; 2) for all their seeming abstractness, the images of political mythologization have pragmatic literality; 3) the parasitical nature of political mythologization was revealed; 4) the relativity of the concepts of freedom and individuality in a political myth was shown; 5) the aspect of conformism and pragmatism of political mythologization was established; 6) political myths create conditions for destructive behavior and attitudes.
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Suvorova, IRINA. "MEDIA MYTHS ABOUT KALEVALA AND REALITY: A CULTURAL APPROACH." Studia Humanitatis 19, no. 2 (2021): 33–37. http://dx.doi.org/10.15393/j12.art.2021.3724.
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The article deals with the problem of the truth of modern media myths using specific information materials about Kalevala, the homeland of classical Karelian mythology. The study was conducted in two stages: the empirical stage was carried out during a comprehensive research expedition of the Humanitarian Innovation Park of Petrozavodsk State University to the Kalevala National District of Karelia, while the second stage was implemented during the office processing of the collected data. Sociological survey and in-depth interview, as well as the analysis and comparison of media myths and classical myths were used as research methods. The second stage of the study led to some generalizations and conclusions. As a result of the study, essential functions performed by media myths in modern culture were identified; six media myths about Kalevala were verified; each myth’s content and its reflection in reality were analyzed. Special attention was paid to the transformation of the classical Karelian myth of Sampo into a modern media myth verified in this study. All in all, the article presents conclusions about the conformity of modern media myths with the provisions of Aleksey Losev’s mythological theory and summarizes the cultural and creative function of modern media mythology.
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Fic, Igor, and Kateřina Ďoubalová. "Myth, History and Art." Procedia - Social and Behavioral Sciences 149 (September 2014): 339–43. http://dx.doi.org/10.1016/j.sbspro.2014.08.261.
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Kovacevic, Ivan. "Art and the analysis of myth." Zbornik Matice srpske za drustvene nauke, no. 122 (2007): 151–63. http://dx.doi.org/10.2298/zmsdn0722151k.
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The paper discusses the mediation between the anthropological and artistic approach to myth. Created in the co-operation with the artistic group ?Bazaart?, it tries to make the anthropological analysis of myth usable in every other sense, so it should be also understood as applied anthropology. Fragments of myth are often in the focus of intellectual curiosity and artistic creation, but if they are not previously analytically processes and interpreted, than the direct creative approach to myth becomes a new uncultivated myth-making. Classic anthropological analyses like the structural analyses, with their results can enable a deeper artistic insight into myth, but only after they were transformed and translated from the ?heavy? structuralist language into the language available to the artist. The paper also points to the dangers of neomythical consciousness, which, if it is analytically non-elaborated, can lead the artist - whose intentions converge with the scientific ones and who tends towards presenting the artistic experience of the world - to the path of manifold arbitrariness. Therefore, the artistic experience of myth which reflects the artist?s state of consciousness must be preceded by the deconstruction of that myth to bring its social reality to light.
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Quilter, Jeffrey. "The Moche Revolt of the Objects." Latin American Antiquity 1, no. 1 (1990): 42–65. http://dx.doi.org/10.2307/971709.
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Stories involving the death of the sun and a subsequent revolt of objects against humans are variants of a common and ancient Native American myth, and it is argued that a number of art works from the Moche culture of the Peruvian north coast depict a variant of this myth. The “Revolt of the Objects” theme is part of a narrative sequence representing an important epic of the late Moche culture that is linked to other Moche art, larger symbolic concepts, and sociopolitical events. Now that simple diffusionistic explanations are no longer applicable, the occurrence of similar themes in myths and art throughout the Americas is a subject that should be reexamined.
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Sartini, Sartini, and Luwiyanto Luwiyanto. "Mitos Penciptaan pada Serat Purwakandha Brantakusuman dan Potensi Kajian Filsafatnya." Jurnal Filsafat 30, no. 1 (2020): 92. http://dx.doi.org/10.22146/jf.43718.
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This article examines the creation myth in Serat Purwakandha Brantakusuman (SPB), how its characteristics are compared to myths in Indonesia and existing mythical theories, and explains philosophical themes that can be examined from these myths in order to give its theoretical contributions in existing mythical theories. It is a literature study by reviewing books texts, research reports, journals, and other sources. The analysis is done by interpretation, coherence-holistic, description, and analysis-synthesis. The theoretical framework used is the myth theory C A. Van Peursen and Clifford Geertz. The results of the study indicate that the myth of the creation of plants in SPB is based on the story of the death of Dewi Tisnawati who was banished to earth. The study of myths about the origin of plants is new because research examining myths related to agriculture and Dewi Sri, the influence of myths in life and human activities, forms of rituals and socio-cultural activities, and the relationship between myths and art, are more related to origin place. The myths in SPB and myths in Indonesia contribute to supporting myth concepts that have been described by great thinkers. The creation myth and other myths in the SPB can be subject to study from the perspective of the branches of philosophy and its conceptual substances can also be criticized philosophically
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Ismailova, Gulbarchyn. "SOME PROBLEMS OF KYRGYZ TERMINOLOGY AND WAYS OF INTERPRETATION." Alatoo Academic Studies 2021, no. 4 (2021): 129–35. http://dx.doi.org/10.17015/aas.2021.214.15.
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The scientific article analyzes the genetic relationship between myth and fiction. The myth has always, to one degree or another, claimed the universality of the explanation of the world. Myth and verbal art, myth and artistic creation are genetic, for myth represents the fundamental principle of the spiritual culture of mankind. In ancient times, mythology was the main and main form of world perception and therefore possessed universalism and ideological syncretism. Due to the specifics of its genesis, the myth was not only a form of social consciousness, but also a kind of narrative model, the original form of literary literature, a treasure of poetic fantasy. There were conclusions that both classicists and romantics turned to the ancient myth, and writers - realists of different periods of the development of this method - also turned. The attitude of representatives of various systems to the myth was manifested in the depth of immersion in the myth, in the change in the plot structure, the figurative system of myths.
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Maulenov, A. A., and N. K. Matbek. "Neomythology in works of art." Keruen 74, no. 1 (2022): 160–69. http://dx.doi.org/10.53871/2078-8134.2022.1-12.
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The article draws attention to the role of mythology in the literature of the twentieth century, particularly in postmodernism. It is asserted that the use of myth allows you to achieve various artistic goals: create images, convey relationships. It is noted that the mythological symbolism fits well into the process of formation of intertextuality as the main feature of postmodernism. The main statements are illustrated through the work of Ch. Aitmatov on the example of the novel “When the mountains are served” (“The Eternal Bride”). The writer uses mythological plot, which is transformed and acquires a new sound and meaning, corresponding to modern reality. In the modern world, the synthesis of mythology and realism has become an integral part of culture. These changes gave impetus to the search for new signs and symbols in the literary process. Myth, parable, legend have an active formative influence on modern prose, contribute to the appearance of images-symbols, images-metaphors, images-allegories. The myth, crystallized for centuries and even millennia of its existence in the minds of different peoples, people of different eras, gives the most vivid examples of life situations, eternal emotions – such as love, loyalty, hatred, betrayal, selflessness. Ch. Aitmatov’s mastery in this work consists primarily in the fact that the actual biblical events are pushed into the background here, as it were, and the author's main attention is focused on the study of the psychosocial state of the planet. The theme of Zoroastrianism is introduced through myths: the people believe that this is the only way to return the “Eternal Bride”. In the image of Ch. Aitmatov, myths change their structure. They become closer to modern life, synthesizing samples of the mythical creativity of the Kyrgyz people with the actual problems of our time, the writer creates a truly philosophical and psychological novel embodying the sacred covenant of the ancestors about love and protection of nature. Thus, the commonality between the symbolic image of Zhaabars and Arsen seems obvious, the writer turns to the origins of national cultures, to mythopoetic models of artistic thinking, deeply reveals the spiritual world of his heroes. In his works, Ch.Aitmatov through folk mythology was able to reveal the multifaceted symbolism of the meaning of human existence, preserved in the mythological consciousness of the people. It is no coincidence that the myth - making of Ch. Aitmatov became not only a school for Turkic writers, but also a moral reference point in the development of the mythological tradition. It is discussed the features of postmodernism at the final part of the article, its difference from other directions. The use of mythologems, their creative processing is evidence of the originality of the mythological thinking of modern writers.
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SULIMA, Igor I., and Alena D. FOFANOVA. "MYTH AND MYTH-CREATION IN THE EDUCATION SYSTEM." Lifelong Education: the XXI century 40, no. 4 (2022): 16–28. http://dx.doi.org/10.15393/j5.art.2022.8004.
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BOUMY, Koué Kévin. "Pratiques érémitiques et quête métaphysique au cœur du mythe sociogonique des poètes maudits." ALTRALANG Journal 4, no. 02 (2022): 319–39. http://dx.doi.org/10.52919/altralang.v4i02.219.
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Eremitic Practices and Metaphysical Quest at the Heart of the Sociogonic Myth of Cursed Poets
 ABSTRACT: In a XIXth century of great democratization of the poetic work, which dilutes its quality of superior art and makes it enter the frenzy of the market economy, crystallized the sociogonic myth of cursed poets, talented, practicing of a pure art but despised and projected on the periphery of a mercantile society. Victims of a system that rejects them, these cursed poets create a sort of self-legitimation syndicate based on the argumentative schemes of the myth of Christ "Son of God" and ancient traditions that predestine exceptional men to misfortune by the crowd, whose “ineptitude of taste and nullity of imagination” (N. O. Lübecker, 2003: p 112) are known. Their austere and almost sacred practice of poetic language, which they consider to be the sole guarantee of a metaphysical quest, completes the thickening and amplification of this myth.
 RÉSUMÉ : Dans un XIXème siècle de grande démocratisation de l’œuvre poétique, qui en dilue la qualité d’art supérieur et la fait entrer dans la frénésie de l’économie du marché, s’est cristallisé le mythe sociogonique des poètes dits maudits ; talentueux, pratiquants d’un art pur mais incompris et projetés à la périphérie d’une société mercantile. Victimes d’un système qui les rejette, ces poètes maudits créent une sorte de syndicat d’autolégitimation en se fondant sur les schémas argumentatifs du mythe du Christ ‘‘Fils de Dieu’’ et des traditions antiques qui prédestinent les Hommes exceptionnels au malheur impulsé par la foule dont « l’ineptie du goût et la nullité de l’imagination » (N. O. Lübecker, 2003 : p 112) sont connues. Leur pratique austère et quasi sacrale du langage poétique qu’ils considèrent comme l’unique caution d’une quête métaphysique, achève d’épaissir et d’amplifier ce mythe hétéro-déterminé.
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Boccuto, Luigi, and Giovanni Neri. "Overgrowth in myth and art." American Journal of Medical Genetics Part C: Seminars in Medical Genetics 187, no. 2 (2021): 176–81. http://dx.doi.org/10.1002/ajmg.c.31910.
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Sharipova, D. S., S. Zh Kobzhanova, and A. B. Kenzhakulova. "INTERTEXTUALITY IN CONTEMPORARY ART OF KAZAKHSTAN IN THE ASPECT OF CULTURAL MEMORY." Bulletin of Kazakh National Women's Teacher Training University, no. 2 (July 16, 2021): 179–90. http://dx.doi.org/10.52512/2306-5079-2021-86-2-179-190.
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For the masters of modern art of Kazakhstan, along with the importance of samples of classical culture and discoveries of modernist art, Kazakh folk art is becoming a single field of tradition today. Intertextuality, constant dialogue with different layers of world and national painting and sculpture determine the search for new expressiveness in art. This article describes the role of intertextuality in the development of new forms of artistic statements, namely, as in the works of modern Kazakh sculptors (S.Bekbotayev, D.Sarbasov, Z.Kozhamkulov), jewelers (A.Mukazhanov), tapestry masters (A.Bapanov), the importance of the values of native culture as a space of cultural memory is preserved. Experiments with the material are perceived as a ritual, a creative act, a search for their own author's style, modern means of expression of the artist. It is shown that the danger of losing one's own national identity associated with the process of globalization explains the interest of the masters in the author's myth-making, designed to awaken the spiritual foundations of the nation in the minds of contemporaries. Through mechanical details, sculptors create new myths in order to streamline the ethical and psychological state of a modern person, while in the works of masters of decorative and applied art, bricolage is practiced as a combination of different materials and textures, meanings and images closest to the construction of a myth.
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Ghasemi Rozveh, Nasser, and Aida Danaye. "Sindbad Myth in the Poem by Khalil Hawi." International Letters of Social and Humanistic Sciences 64 (November 2015): 150–61. http://dx.doi.org/10.18052/www.scipress.com/ilshs.64.150.
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Extensive use of mystery and myth as a means of expression is one of the most eminent artistic phenomena at new poetry experiences. The reflection of myths in poetry, is the most beautiful and artistic application of mythmaking. With reflection of myths, the mythological world became the parade ground for poet`s imagination and creation and also for mythmaker writer, so it can link past and present, and by this way shows social and political deductions and perceptions for readers, and fulfills human art and cultural needs. Also, Arab current poets used of Arabic and even other old nation`s myths, and expressed their thoughts and ideas by using these myths with respect to environment and circumstances. This paper aims to study the most dominant myths in Khalil Hawie`s poems, beside defining idiomatic and lexical of myth.
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Abdul Rahman Saad Al - Orabi, Abdul Rahman Saad Al Orabi. "The history of Taif between myth and myth prepared." journal of king abdulaziz university arts and humanities 26, no. 2 (2018): 259–73. http://dx.doi.org/10.4197/art.26-2.11.
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The study examined the myth in Taif's history which reported by historians either from Taif itself or Makkah as well as travelers Visited Taif through years. Those accounts were taken roots in the conscience and memory of Taif's society as facts. Thus the study through analytic historical approach tried to confirm or deny those accounts such as the virtues of Taif, it's aniquities and the beginning of Taif.
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Perelshtein, Roman. "Metaphysics of cinema art." Herald of Culturology, no. 1 (2021): 57–79. http://dx.doi.org/10.31249/hoc/2021.01.03.
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The author of the article explores cinema art as a kind of worldview model, based on the tragic myth of Aristotle. The well-known doctrine of tragedy is the part of the doctrine of tragic myth. Both tragedy and drama strive for catharsis, that is, to purify and heal the soul. The discussion of drama as a spiritual teaching becomes extremely relevant in this regard. The hero of the drama (wider than a movie with a dramatic plot) goes on a journey to meet his eternal "I", and, therefore, to become himself. The hero may fail, but there is no other purpose for the journey or initiation.
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Keuren, Frances van, and T. H. Carpenter. "Art and Myth in Ancient Greece." Classical World 85, no. 6 (1992): 716. http://dx.doi.org/10.2307/4351142.
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Roberts, David. "Art and Myth: Adorno and Heidegger." Thesis Eleven 58, no. 1 (1999): 19–34. http://dx.doi.org/10.1177/0725513699058000003.
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Peperzak, Adriaan. "Appearance, Myth, and Art in Politics." Research in Phenomenology 21, no. 1 (1991): 48–61. http://dx.doi.org/10.1163/156916491x00044.
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Sharrock, A. R. "Womanufacture." Journal of Roman Studies 81 (November 1991): 36–49. http://dx.doi.org/10.2307/300487.
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Women are ‘perceived’. We speak often not just of ‘women’, but of ‘images’, ‘representations’, ‘reflections’ of women. Woman perceived is woman as art-object; and paradigmatic of this phenomenon is the myth of Pygmalion.This article will consider Ovid's version of the myth, the story of the artist who loved his own creation. I shall suggest that the story reflects on the eroto-artistic relationship between the poet and his puella explored in Latin love elegy. The Metamorphoses myth of the art-object which becomes a love-object mirrors the elegiac myth of love-object as art-object. The elegists represent the puella as both art and flesh. Pygmalion deconstructs the erotic realism of elegy and by its frankness about the power of the male artist discloses elegy's operations. It tells us how to read the puella — as a work of art; and the lover — as an artist obsessed with his own creation. Pygmalion reflects and exposes the self-absorption of elegy, the heroization of the lover, and the painted nature of the woman presented in eroto-elegiac texts, that is, the way in which she is to be seen as an art-object.
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Tudorică, Ioana-Ciliana. "The Role of Myths in Japanese Calligraphy’s Interpretative Process." Studia Universitatis Babeș-Bolyai Philologia 66, no. 4 (2021): 353–66. http://dx.doi.org/10.24193/subbphilo.2021.4.22.
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The Role of Myths in Japanese Calligraphy’s Interpretative Process. This article illustrates the role of myths in the interpretative process of calligraphic works. Being considerably different from Western calligraphy, Japanese calligraphy (shodō) may seem at times visually similar to abstract art. However, calligraphic works – and shodō as art – are rich in meaning and abundant of myths. Focusing on both linguistic and visual elements of calligraphy, the article depicts how myths can be identified in a calligraphic work and how they provide a better understanding of the particularities of shodō. In order to illustrate how myths uncover new layers of meaning, the article incorporates an analysis of a calligraphic work created by Rodica Frențiu, underlining the process of accessing the transcendent meaning. Keywords: shodō, Japanese calligraphy, calligraphy, cultural semiotics, Japanese studies, kanji, myth, Zen, Buddhism.
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Mevorah, Vera, Jelena Guga, and Cedomir Markov. "Divine genius, subversive hero, or creative entrepreneur? Exploring various facets of the artist as a mythical figure." Bulletin de l'Institut etnographique 71, no. 1 (2023): 99–121. http://dx.doi.org/10.2298/gei2301099m.
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People have always related art to the creation and transmission of myths. While myth as a theme in art has been thoroughly addressed, research about the ?mythic? nature of the artist figure is far less common. The 20th and 21st centuries brought challenges to the status of art and artists in society, historically situated archetypes and stereotypes that we associate with the figure of the ?artist? still survive to this day (e.g. ?genius?, ?subversive artists?, ?child prodigy?, ?eccentric?, etc.). In this paper, we set out to analyze various tropes used persistently to describe artists and explore how relevant the resulting myths are in (self) perceptions of Serbian contemporary artists. Our multidisciplinary approach to this topic combines a historical-theoretical and empirical perspective. Through historical research of the relevant literature, we described and mapped the key tropes of the (mythical) artist figure as it developed in Western culture. In the theoretical analysis we address the inseparability of digital culture with everyday life of people today, which we call postdigital. We explore how the transition into contemporaneity affects the determination of the ?artist-figure?, i.e., how it impacts the contemporary process of myth-making. Following our historical-theoretical analysis, we conducted five in-depth interviews with contemporary Serbian artists to understand better how relevant the artistmyth tropes are for their self-perception.
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Bulas, Ryszarda. "Wysokie krzyże irlandzkie i ich związki z mitologią (VIII-XII wiek)." Vox Patrum 44 (March 30, 2003): 143–54. http://dx.doi.org/10.31743/vp.8072.
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The Celtic Crosses are an original phenomenon that unites in itself spiritual traditions of the East and artistic heritage of the West. The original basic shape of the idea is Indo-Iranian and it was close to Celtic mentality. Old myths were translated into a symbolic language of art. The particular feature of the Celtic Cross is the co-existence of Nature and Bible, Myth and Christology.
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Leshem, Bar. "From Grief to Superbia: the Myth of Niobe in Greek and Roman Funerary Art." Acta Classica Universitatis Scientiarum Debreceniensis 56 (September 1, 2020): 281–96. http://dx.doi.org/10.22315/acd/2020/18.
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The Greek myth of Niobe was known in the ancient world both by literary sources and visual representations. Both in Ancient Greece and in Ancient Rome, the myth was represented, alongside a variety forms of art, in funerary art, but in a different manner during each period of time. In Ancient Greece, the myth was represented on Apulian and South Italian vases, portraying the finale scene of the myth: Niobe’s petrification. In Ancient Rome, a shift is visible: the portrayal of the scene of the killing of Niobe’s children on sarcophagi reliefs. The aim of this paper is to follow the iconography of each culture and to understand the reason for the shift in representation, while comparing the two main media forms.
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Sobennikov, Anatoly. "ALEXANDER BLOK’S CYCLE “ON TTHE KULIKOVO FIELD” IN THE CONTEXT OF HISTORICAL MYTH." Проблемы исторической поэтики 21, no. 3 (2023): 109–23. http://dx.doi.org/10.15393/j9.art.2023.12583.
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The article explores the mythological nature of A. Blok’s cycle “On the Kulikovo Field.” It is indicated that the historical myth underlying “Zadonchina,” “The Tale of the Battle of Kulikovo,” and “Tales of the Battle of Mamaev” is ignored by the author. Blok is also far from the imperial, state myth, in the center of which is Dmitry Donskoy and Sergius of Radonezh. In the 19th century, it was he who compiled the content of textbooks and numerous books for the people. The author of the article draws attention to the kenotic signs of the Russian space (steppe), to the symbolism of the Mother of God, and of color and to the motif of “forebodings.” An important semantic moment is the repetition of history. In the aspect of axiology “On the Kulikovo Field” is a myth about “eternal” Russia, kenotic Russia. It is argued that the cycle “On the Kulikovo Field” is a historical introduction to the macrocycles “Poems about Russia” and “Motherland”, in which Blok’s version of the myth of the “holy Rus'” — RUSSIA — will be implemented.
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Hedman, Bruce. "Archetypal images in Haida art." International Journal of Jungian Studies 10, no. 1 (2018): 16–33. http://dx.doi.org/10.1080/19409052.2017.1390482.
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ABSTRACTThe Haida, a First People of British Columbia, evolved over 3000 years an art form which is rich in archetypal images. Most Northwest Coast anthropologists study only the form of Haida art, but Wilson Duff and George MacDonald have pursued its meaning using terms that echo analytical psychology. In this paper, I argue that the structure of shamanic cosmology and Haida moieties parallel the distinction in the human psyche which Marie-Louise von Franz called the Unconscious Above and the Unconscious Below. The ‘marriage of opposites’, the reconciliation of Logos and Eros, Duff saw symbolized in Haida art by the Copper, which I call the ‘Haida Anthropos’. Using this parallel with the chthonic and the celestial, I then amplify the myth of ‘Eagle Chain and Giant Clam’ as it was portrayed in two argillite totem poles, which I argue show the peripeteia and lysis of the myth.
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Picton, John. "Edo Art, Dynastic Myth, and Intellectual Aporia." African Arts 30, no. 4 (1997): 18. http://dx.doi.org/10.2307/3337550.
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Kleimola, Ann. "Power, Sainthood, and the Art of Myth." Kritika: Explorations in Russian and Eurasian History 12, no. 4 (2011): 992–1004. http://dx.doi.org/10.1353/kri.2011.0054.
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Cox, Stephen. "The Titanic and the art of myth." Critical Review 15, no. 3-4 (2003): 403–34. http://dx.doi.org/10.1080/08913810308443591.
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DOY, G. "The Myth of Primitivism: Perspectives on Art." Journal of Design History 5, no. 1 (1992): 95–96. http://dx.doi.org/10.1093/jdh/5.1.95.
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Fanu, Mark Le. "Art and the Body: Feminist Myth-Making." Cambridge Quarterly XVI, no. 1 (1987): 81–88. http://dx.doi.org/10.1093/camqtly/xvi.1.81.
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Wilson, Lee Ann. "Animal, Bird and Myth in African Art." African Arts 19, no. 2 (1986): 82. http://dx.doi.org/10.2307/3336332.
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Popovici, Catherine H. "Art and Myth of the Ancient Maya." Ethnohistory 70, no. 2 (2023): 222–23. http://dx.doi.org/10.1215/00141801-10266984.
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Broeckmann, Andreas. "The Machine as Artist as Myth." Arts 8, no. 1 (2019): 25. http://dx.doi.org/10.3390/arts8010025.
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The essay proposes an art–historical contextualisation of the notion of the “machine as artist”. It argues that the art–theoretical tropes raised by current speculations on artworks created by autonomous technical systems have been inherent to debates on modern and postmodern art throughout the 20th century. Moreover, the author suggests that the notion of the machine derives from a mythological narrative in which humans and technical systems are rigidly figured as both proximate and antagonistic. The essay develops a critical perspective onto this ideological formation and elucidates its critique in a discussion of a recent series of artworks and a text by US American artist Trevor Paglen.
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Wickerson, Erica. "Beyond Vision: Myth, Catharsis and the Narration of Absence in Art Spiegelman's Maus and W. G. Sebald's Austerlitz." Comparative Critical Studies 17, no. 1 (2020): 71–93. http://dx.doi.org/10.3366/ccs.2020.0344.
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Art Spiegelman's Maus and W. G. Sebald's Austerlitz are unusual as second-generation Holocaust narratives not only for their combination of text and image, but also for their subtle allusions to myth. This article considers the confluence of literary and visual narrative, and mythology and the Holocaust. It proposes an extension to Claude Lévi-Strauss's structuralist approach to myth, suggesting the distinction between semantic and syntactic ‘bundles of relations’. In the context of Maus and Austerlitz, this distinction unveils a tension between theme and form in the echoes of well-known mythological tales. It also indicates the multiple narrative levels at work and the disparity that often exists between them. Although both works allude to myths, they subvert the traditional endings, denying the possibility of cathartic release or narrative predictability. These echoes and subversions form part of a wider project that also operates in the combination of text and image. Spiegelman and Sebald draw attention to attempts to visualize and to represent subjectivities and memories, and then ironically indicate the fallibility of literal and metaphorical sight. Bringing together word and image, and myth and the Holocaust in both works highlights the limits of mimetic representation as well the significance of attempting it.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 61, no. 1 (2014): 133–36. http://dx.doi.org/10.1017/s0017383513000314.
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Mit Mythen Leben, the 2004 study of Roman sarcophagi by Paul Zanker and Björn Ewald, has appeared (with updated references) in English. This is a cause for gladness among all Anglophones engaged in the teaching of ancient art, because for non-German readers there was frankly nothing to match the intellectual scope and illustrative quality of Zanker–Ewald. Our only regret may be that students will find this explanation of the imagery on the sarcophagi so convincing that further debate seems futile. It is well known that Roman sarcophagi, of which thousands survive from the second and third centuries ad, have had a ‘presence’ or ‘afterlife’ in Western art history for many centuries: some were even re-used for Christian burials (the tale of one such case in Viterbo, the so-called ‘Bella Galiana’ sarcophagus, might be one addendum to the bibliography here). But what did they once signify? Many were produced in marble workshops of the eastern Mediterranean, from which the suspicion arises that Roman customers may not have exercised much discrimination when it came to selecting a subject or decorative scheme. (Our authors rather sidestep the question of how much was carved at sites of origin, such as Aphrodisias, then completed – with portrait features added? – in Rome.) Accepting, however, that an elaborate sarcophagus was a considerable investment – the cost calculated as about six months’ or even a year's salary for a captain in the Praetorian Guard – and supposing that the imagery were more than a status symbol, we are left with essentially two options. One is to follow the Belgian scholar Franz Cumont and others in analysing the iconography in terms of its clues to Roman beliefs about the afterlife. For certain images of myth this seems to work very well – the story of Alcestis, for example; for others, rather abstruse allegories must be sought: what eschatology is lodged in Medea's tragedy, or a scene of Achilles on Skyros? The alternative is to follow Zanker and Ewald in supposing that the sarcophagi do not so much represent the belief systems of the deceased as offer a sort of visual counselling to the bereaved. Hence the title – living with myths, not dying with them: for the regular occasions on which Romans were obliged to remember and honour the dead (parentalia, rosaria, etc.), sarcophagi on display in family burial enclosures provided ‘encouragement to free association’ (31) in various therapeutic and consolatory ways. These of course encompass some of Cumont's reconstructions of Stoic comfort and so on – but with its emphasis upon the response of viewers, the Zanker–Ewald approach clearly allows more flexibility of significance. To say that the message often reduces to ‘it could be worse’ is a brutal summary of the sympathetic and subtle readings expounded in this book. Yet occasionally one could wish for more sophistry. For example, in discussing the consolatory potential of images of Niobe and her unfortunate offspring – a ‘massacre of the innocents’ with obvious pertinence to mors immatura – the authors allude (74) to the curious persuasive strategy deployed by Achilles when he, at last in a mood to yield up the mangled body of Hector, invites the grief-stricken Priam to supper (Il. 24.603 ff.). As Malcolm Willcock long ago showed (CQ 14 [1964], 141 ff.), Achilles resorts to a formulaic paradeigma: ‘You must do this, because X, who was in more or less the same situation as you, and a more significant person, did it.’ Only in this the case the a fortiori argument relies upon a rather implausible twist to the usual story, namely that Niobe, having witnessed the deaths of her twelve children – and with their corpses still unburied, since everyone in the vicinity has been turned to stone – adjourns to dinner. No other telling of the myth mentions this detail: indeed, Niobe herself is usually the one turned to stone. Of course this version suits Achilles well enough: if Niobe lost all her children but not her appetite, why should Priam, who has lost merely one of his many sons and daughters, hesitate to share a meal? But did Homer expect his audience to be disconcerted by such mythical manipulation, or was it typical of what happened when myth served as consolation? And if Achilles/Homer may resort to such embroidery, did educated Romans feel inclined to do likewise? Was this part of the presence of myth in ‘everyday life’?
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Karabıyık, Ayfer. "The Image of the Babel Tower in Contemporary Art and a Parallel Disruption of the Statue of Liberty." Journal of Interrupted Studies 1, no. 1 (2018): 34–47. http://dx.doi.org/10.1163/25430149-00101001.
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The ‘Legend of the Babel Tower’ is mentioned in local narratives in many regions of the world and in mainstream religions, and is a subject much worked on in the field of art. This study will focus on the theme of the Babel Tower myth as discussed in contemporary art. The intention here is to discuss the reasons for the different assessments of the Babel myth in each period.
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Skočir, Marija. "From Cheap Films to Museum Collections: The Author’s Significance for the Magnum Archive - Archiving of Invasion 68 by Josef Koudelka." Cabinet, Vol. 2, no. 2 (2017): 82–87. http://dx.doi.org/10.47659/m3.082.art.
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The article is based on an insight into the workflows of the Paris agency Magnum Photos. The theoretical framework introduces a modernist model of the author’s concept, which corresponds to Magnum’s type of photographer, based on the specific historical circumstances of the agency’s founding and its modus operandi. The concept of the author as a heroic individual with a unique photographic career and biography is in a reciprocal relationship with i.e. the “myth” which, as the latest study of Magnum’s history has shown, is maintained by the agency throughout the seven decades of its existence. This myth does not exist without the “author”, while the agency does not exist without the “myth”, therefore, according to Foucault, neither the “death of the author” in a Barthesian sense, nor his replacement with the “author’s function” is possible. The author, who makes exclusive decisions regarding production, distribution, use and archiving of his photographs, affects all the processes of the agency’s work. This becomes less ambiguous in the question of the importance of Magnum’s archives, which can be claimed to have a broader relevance for social history. The archiving practice is described on the example of Josef Koudelka’s Invasion 68 series, which, with its unconventionality, shows the challenges of archiving and explains the author’s original solutions. Keywords: analogue recovery, contact sheet, Josef Koudelka’s “Invasion 68”, Magnum Photos, photographer as the author
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Rintoul, Jenny. "‘I came here to do art, not English’: Antecedent subject subcultures meet current practices of writing in art and design education." Journal of Writing in Creative Practice 15, no. 2 (2022): 140–56. http://dx.doi.org/10.1386/jwcp_00035_1.
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A writing/making divide, within the broader theory/practice myth, is part of the historical narrative in art and design education that both clashes with, and persists in, current practices of writing in art and design. The theory/practice myth separates thinking from doing, head from hand, and writing from making, causing internal frictions in art and design subjects. This article provides a historical and contextual mapping of the writing/making binary in creative practice, drawing on Ivor Goodson’s (, , , 2002) work on ‘antecedent subject subcultures’ to discuss the formation and maintenance of subject cultures and – ultimately – their potential to change.
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Pucci, Magda Dourado. "Aspects of Paiter Suruí oral art." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (2011): 411–26. http://dx.doi.org/10.1590/s1809-43412011000100015.
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This text introduces a brief explanation about the intricate relation between music and narrative, speech and chant, voice and myth, which together are part of the poetical art of the Paiter Suruí, an indigenous people from Rondônia (Amazonia). Part of the cultural heritage of the Paiter Suruí people can be found at the Arampiã Archive that has recordings collected by anthropologist Betty Mindlin, who has been working with the Paiter for more than twenty years. These documents are like “oral-books” of stories of Paiter Suruí life from the past and present. The musicality comes from the Tupi-Mondé language that is rich in onomatopoeias and ideophones, and has exclamations with verbal functions that imitate animals of the forest. The Suruí music shows us that myth is composed not only of fabulous stories, but also by reality. Both are presented through archaic words and metaphorical meanings.
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Stefan Jurasinski. "Myth in Early Northwest Europe (review)." Arthuriana 20, no. 3 (2010): 122–24. http://dx.doi.org/10.1353/art.2010.0013.
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Brennan, John P. "Myth, Marriage, and Dynastic Crisis in LaƷamon’s Brut." Arthuriana 26, no. 1 (2016): 41–59. http://dx.doi.org/10.1353/art.2016.0001.
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Yun, Mi Ran. "A Study of Inanna’s Myth : The Effect of Sumerian Myth on Modern Art." Europe Culture Arts Association 13, no. 2 (2022): 61–80. http://dx.doi.org/10.26854/jeca.2022.13.2.61.
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Goryunov, Vasiliy, Tatjana Konjkova, Vera Murgul, and Nikolay Vatin. "William Richard Lethaby – Architecture, Mysticism and Myth." Applied Mechanics and Materials 725-726 (January 2015): 1084–89. http://dx.doi.org/10.4028/www.scientific.net/amm.725-726.1084.
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This article deals with the art of a prominent English architect and architectural theorist - William Richard Lethaby. His theoretical outlook on architecture has been considered herein. His fundamental outlook – the book ‘Architecture, Mysticism, and Myth’ - has been analyzed. His innovative outlook, as well as the concept development regarding study of art in the 20th century described in this book, has been highlighted. The Lethaby’s relations with English movements ‘Art and Craft’ and ‘Aesthetic Movement’ have been indicated. Different outlooks on architecture supported by Lethaby and other leading theorists-rationalists in the mid-19th have been also distinguished.
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Kapach, Avi. "The Art of Mythical History and the Temporality of the Athenian Epitaphioi Logoi." Trends in Classics 12, no. 2 (2020): 312–40. http://dx.doi.org/10.1515/tc-2020-0019.
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AbstractThis essay examines the use of myth and history in the Athenian public funeral speeches (epitaphioi logoi), concentrating specifically on temporality implied by the impulse to “mythologize” recent memories through speech, logos (Dem. 60.9; cf. Pl. Menex. 239b7-c7). While Loraux and other scholars are correct that the epitaphioi endowed Athens with a certain eternity by construing the present through the timeless lens of myth, the prevailing tendency to suspend the Athens of the epitaphioi outside of time leads to difficulties. As I argue, the chronological organization of the epitaphioi grants these speeches an important temporal element and situates them in the same continuum as the present – a move further reinforced by the tendency of the orators to rationalize the Athenian myths much as historians might; accordingly, I propose an adjusted taxonomy with which to approach the temporal status of Athenian epitaphic encomium: the epitaphioi are “mythical” less because of their eternalizing perspective than because of the malleable and pluralistic way in which they conceived of the past and molded it to their ideological purpose. Borrowing from anthropological and cognitive psychological frameworks, I further suggest that by routinely reconsolidating the past in the collective memory of the polis the epitaphioi positioned themselves in opposition to historiography.
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Hedreen, Guy. "The Return of Hephaistos, Dionysiac Processional Ritual and the Creation of a Visual Narrative." Journal of Hellenic Studies 124 (November 2004): 38–64. http://dx.doi.org/10.2307/3246149.
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AbstractThe return of Hephaistos to Olympos, as a myth, concerns the establishment of a balance of power among the Olympian gods. Many visual representations of the myth in Archaic and Classical Greek art give visible form to the same theme, but they do so in a manner entirely distinct from the manner in which it is expressed in literary narratives of the tale. In this paper, I argue that vase-painters incorporated elements of Dionysiac processional ritual into representations of the return of Hephaistos in order to articulate visually the principal theme of the myth. The vase-painters structured the myth along the lines of epiphanic processions in which Dionysos was escorted into the city of Athens. Like Dionysiac epiphanic processions, the procession of Hephaistos, Dionysos and the wine-god's followers is distinguished visually by drunkenness, ostentatious display of the phallus and obscene or insulting behaviour. To judge from the aetiological myths associated with them, the epiphanic processions symbolized the triumph of Dionysos over, and his belated acceptance by, those who denied his status as a god. By structuring the visual representations of the return of Hephaistos along the lines of such Dionysiac processions, artists conveyed visually the idea that the myth also concerned the triumph of a god over those who rejected him, and his acceptance among the Olympians. It is not necessary to assume that the vase-painters relied on a detailed poetic account of the myth to create their representations of it, because they employed elements of religious spectacle, an inherently visual phenomenon, to convey the essence of the story.
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Manley, Marcelle. "The reality of myth." Religion and Theology 1, no. 1 (1994): 27–36. http://dx.doi.org/10.1163/157430194x00042.
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AbstractThis article was inspired by the Shangaan sculptor and prophet Jackson Hlungwani who has gained considerable renown all over southern Africa and further afield for his art. Jackson's sculpture is mythical. His communication is mythical. And contact with him makes one realise that faith without a mythical basis becomes - to use Cantwell Smith's distinction - mere religion .... What follows is a clarification of this statement.
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Wang XIAOYU. "THE FUSION OF MYTHOLOGY AND SCIENCE FICTION: INTERPRETATION OF THE MYTHOLOGICAL NARRATIVE STYLE OF LIU CIXIN’S THE THREE-BODY PROBLEM." UzMU xabarlari 1, no. 1.2 (2024): 318–22. http://dx.doi.org/10.69617/uzmu.v1i1.2.1076.
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In the creation of The Three-body Problem Problem , the famous contemporary science fiction novelist Liu Cixin not only drew on the explicit forms (symbols, metaphors) unique to myth, but also went deep into the implicit forms of myth expression (such as using myth as a method of thinking), thus getting involved in thinking about social forms and the future development of mankind, these new changes in the narrative level illustrate the infinite possibilities contained in myth itself, and literature and art are only one aspect of creating these possibilities. Therefore, this article attempts to explore the commonalities between myth and science fiction and new research perspectives through text analysis.