Academic literature on the topic 'Mythical method'
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Journal articles on the topic "Mythical method"
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Zhang, Pengxia, Mingzheng Liu, Dandan Li, and Yue Dong. "The Audience’s Perspective: Decline of Mythical Elements in Films." SAGE Open 11, no. 3 (July 2021): 215824402110408. http://dx.doi.org/10.1177/21582440211040801.
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Myths have always been a source of inspiration for literary and artistic creation because of their surreal image and idealized vision. To inherit the national culture and the spirit, many films eastern and western take mythical elements as a medium of meaning. So, has the appearance of mythical elements in the films received a positive response from the audience? Based on the films ( n = 919) released in mainland China cinemas from September 2015 to September 2018, this article uses the method of regression analysis and Latent Dirichlet allocation topic model to verify the relationship between mythical elements and audience acceptance. The results show that (a) mythical elements have no significant impact on the box office revenues; (b) and have no positive impact on the film ratings; (c) there is no significant mythical topic in the film reviews of mythical films, which shows that the public in modern society does not show sensitivity to the mythical elements in films. Finally, we discuss the possible causes of the results and put forward corresponding suggestions for the producers of mythical films.
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Freer, Scott. "The Mythical method: eliot's ‘the waste land’ anda canterbury tale(1944)." Historical Journal of Film, Radio and Television 27, no. 3 (August 2007): 357–70. http://dx.doi.org/10.1080/01439680701443127.
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Nohrnberg, James C. "The Mythical Method in Song and Saga, Prose and Verse: Part One." Arthuriana 21, no. 1 (2011): 20–38. http://dx.doi.org/10.1353/art.2011.0000.
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Dominas, Konrad. "Autolycus and Sisyphus – Some Words about the Category of Trickster in Ancient Mythology." Studia Religiologica 53, no. 3 (2020): 203–12. http://dx.doi.org/10.4467/20844077sr.20.014.12754.
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The goal of this article is to juxtapose the trickster model suggested by William J. Hynes in the text Mapping the Characteristics of Mythic Tricksters: A Heuristic Guide with the stories of Sisyphus and Autolycus. A philological method proposed in this article is based on a way of understanding a myth narrowly, as a narrative with a specific meaning, which can be expressed in any literary genre. According to this definition, every mythology which is available today is an attempt at presenting a story of particular mythical events and the fortunes of gods and heroes. Therefore, stories about Sisyphus and Autolycus are myths that have been transformed and which in their essence may have multiple meanings and cannot be attributed to one artist. The philological method is, in this way, based on isolating all fragments of the myth relating to the above protagonists and subsequently presenting them as a coherent narrative.
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Budzowska, Małgorzata, and Jadwiga Czerwińska. "The Political Involvement of Myth in Its Stage Adapatations." Collectanea Philologica, no. 19 (December 30, 2016): 63–75. http://dx.doi.org/10.18778/1733-0319.19.05.
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Ancient myths from the Mediterranean Culture often become a language used to express current social and political anxieties. In the contemporary theatre ancient myths are deconstructed and subverted according to the postmodern dialogue with tradition. Aesthetic changes are accompanied by the ideological modifications. This obviously crisis position of myth is associated with the method of de-contextualization when a mythical plot or just a mythical character is involved in the (post)modern political background. This paper is to analyse three theatre productions from Polish theatre (Iphigenia by Antonina Grzegorzewska, 2008; Oresteia by Michał Zadara, 2010; Antigone by Marcin Liber, 2013) which adapt the most political ancient myths of Atreides and Labdacides’ families. Authors will present the ancient literary context of these myths (Sophocles, Euripides, Aeschylus) and compare it with the contemporary stage adaptations. Political issues which will be discussed concern 1) global terrorism threat; 2) communism; 3) political usage of dead heroes and enemies – post-memory; 4) wars in Iraq and Afghanistan; 5) Nazi genocide; 6) media management of death. All these current problems constitute a deconstructed background for ancient myths and authors will consider whether this procedure creates an empty mythical mask for performance or, conversely, it enriches a source meaning of ancient myth.
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Kyung Sim Chung. "Quest for the Impersonal Framework: The Mythical Method, Title & Notes in The Waste Land." Studies in English Language & Literature 37, no. 4 (November 2011): 131–46. http://dx.doi.org/10.21559/aellk.2011.37.4.007.
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Fuchs, Dieter. "James Joyce's "The Dead" and Macrobius's Saturnalia: The Menippean Encyclopedic Tradition and the Mythical Method." James Joyce Quarterly 57, no. 3-4 (2020): 275–92. http://dx.doi.org/10.1353/jjq.2020.0005.
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Balsevičiūtė, Rita. "Folk Medicine in the 15th–18th-Centuries Written Sources: Sacrificial Rituals and Their Reflections in the 20th–21st-Centuries Incantations and Beliefs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 65–79. http://dx.doi.org/10.37384/aplkp.2021.26-2.065.
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The study helps to trace the meaning, possible origin, and development of some therapeutic methods of folk medicine. The hypothesis of the study: in some incantations and beliefs, the disease is imaginably transferred to another object and transmitted to gods in a similar way as in sacrificial rituals. The aim of work: to collect and evaluate data on religious ritual of sacrifice in the 15–18 c. written sources; to determine the reflections of such sacrifices in the 20–21 c. incantations, beliefs. The object of the investigation: 15–18 c. written sources, where knowledge (fragments of knowledge) about the religious ritual of sacrifice is found. The study uses comparative, analytical, and interpretive methods. The historical-comparative method is used to compare the mythical material of historical sources written at different times (15–18 c.). The recorded mythical information is also compared to the archival and author′s data. The application of this method reveals the transformation of mythical material in the context of historical change. In therapeutic sacrificial rituals and some incantations, beliefs the process of transmission disease to gods consists of two stages: 1) by gestural and verbal actions, the disease, as content, is supposedly transferred to another object; 2) by certain actions the disease transferred object is transmitted to gods. In sacrificial religious rites and some incantations and beliefs, the offering or disease (object) transmission methods to gods are the same: burning; throwing into the water; digging into the ground (muck); placing in the sacrificial place, sanctuary; throwing, spreading; handing over to wolves (dogs); consumed by rite participants; libation; placing into/on a tree. In incantations, beliefs the differences of transmission methods and place are related to the exceptional features of disease as a content and the regulation of individual treatment. In sacrifice rituals and some incantations and beliefs, only the transmitted object differs – the offering (general part of a meal) or the disease (object), but the addressee (gods), the goals (help, protection, grace, thanksgiving), the transfer process (in therapeutic goat sacrifice), the transmission methods and place are identical or nearly identical.
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Tziovas, Dimitris. "Between tradition and appropriation: mythical method and politics in the poetry of George Seferis and Yannis Ritsos." Classical Receptions Journal 9, no. 3 (September 17, 2016): 350–78. http://dx.doi.org/10.1093/crj/clw018.
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Przybysz, Anna Katarzyna. "Odwołania do idei cykliczności w filmie „Wygnanie” Andrieja Zwiagincewa." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 7 (July 31, 2018): 123–34. http://dx.doi.org/10.14746/kw.2017.7.10.
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The aim of this article is to show how the idea of cyclicality functions in the artistic world of The Banishment, directed by Andrei Zvyagintsev. We try to show that this idea works in conjunction with biblical motifs, but is also visible in a broader mythical-anthropological context. This idea is inseparably linked with the motive of the border, which is floating by its nature. We also try to put emphasis on the Zvyagintsev’sartistic method.
Dissertations / Theses on the topic "Mythical method"
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Butcher, Kenton Bryan. "Ralph Ellison's Mythical Method in Invisible Man." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461407953.
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Stalla, Heidi. "Life is in the manuscript : Virginia Woolf, historiography, and the 'mythical method'." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:58e6f835-b776-4a87-bafd-f48525c11918.
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Virginia Woolf's writing is aesthetically complex, politically engaged, and remains relevant today - an astonishing achievement. This thesis begins by asking how and why this is the case, and thinks through Woolf's relationship to history as a means of suggesting some answers. References to the past abound in Woolf's fiction in the form of meaningful names, stories, myths, and national histories. I am especially interested in allusions that are not immediately obvious, but still work to convey something about human nature. These were sometimes inspired by artifacts in museums, or by articles in magazines or newspapers, or literature she owned, or borrowed, or was being written by her contemporaries - sources that a careful researcher can track down. Other references are more difficult to prove; for example, they may have come from travel experiences related by friends, or personal experiences not recorded in her diary. In this case we need to balance circumstantial evidence, common sense, and an understanding of the spirit and concerns of the age. In the first chapter I highlight Woolf's early interest in the tension between fact and fiction as it is expressed in her 1906 short story, "The Journal of Mistress Joan Martyn". The chapter serves as way of demonstrating my process. I point out the interplay between form, content, and autobiography that is in her other work. In short, a good deal of what is imagined may have been inspired by personal experience and real historical material. The next three chapters reveal new character types and source material for Jacob's Room, To the Lighthouse, and The Waves - the novels in which Woolf worked out what I have called her "mythical method". I end by inviting scholars to reconsider tensions in her work such as fact and fiction, self and other, art and politics from a new angle: not only as thematic preoccupations but also as crucial to thinking of - to borrow from Gertrude Stein - composition as a form of explanation. Woolf's project in fiction was to figure out what modernism can and should do. Although it is not necessary for all readers to do the kind of research demonstrated here in order to understand the novels, having an awareness of this work is important. This new way of looking at how and why Woolf wrote both in and outside of time as part of the process of composition makes us think again about the reasons that we should care so much about "Mrs. Brown". It helps us appreciate that the project of conveying both the ephemeral and temporal qualities of human experience is what makes the study of literary modernism (and its current global, transnational forms) a dynamic, political, and expanding phenomenon today.
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Sperens, Jenny. "Yeats, Myth and Mythical Method : A Close Reading of the Representations of Celtic and Catholic Mythology in “The Wanderings of Oisin”." Thesis, Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-85074.
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“The Wanderings of Oisin” was published in 1889 and is one of W.B Yeats’ earliest poems and is the main focus for this essay. The poem depicts the duality of Irish identity and the transition from one system of belief to another. This essay will demonstrate that W.B Yeats uses Celtic and Catholic mythology in “The Wanderings of Oisin” in order to reflect his contemporary Ireland. The essay begins with a deifintion and a discussion about the words 'myth' and 'mythical method'. The second part of the essay describes the depiction of Celtic and Catholic mythology in “The Wanderings of Oisin” and the connection to late nineteenth century Ireland. The first section presents information on Irish nineteenth-century history and the second section focuses on five parallels to Yeats' contemporary society: The vitality of Celtic mythological beings, the depiction of Oisin as mediator, the sense of loss regarding Irish culture, the juxtaposition of Celtic and Catholic and the ambivalence that follows in a society where two conflicting mythologies coexist and compete. The main body of arguments discusses these parallels between Yeats’ portrayal of Celtic mythology and nineteenth century Ireland and shows that "The Wanderings of Oisin" reflects Yeats' contemporary Irish society.
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Oliveira, Itamar Aparecido de. "Mitos e arquétipos em O som e a fúria, de William Faulkner: ensaios." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/14775.
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In this work we analyse William Faulkner's novel The sound and the fury with the objective of meditating on the mythical structure which performs and holds a constant change of meaning of the story and the permanent dissolution found in all the narrative layers. To do that, we survey the main myths and archetypes that appear in the work and that are inverted or altered by the author with the intention of founding the creation of a modern narrative, specially in formal construction. Our main problem was the way to approach the novel, in which it is noticeable the use of an anti-Cartesian logic in the disposition of the elements: narrators, characters, time, space, archetypes, atmosphere. They seem to be subverted by a system organized through logic of bricolage, which leads us to ask: is that logic the organizational system of The sound and the fury? We made a dialogue with the studies on myth and literature (Dumézil, Meletínski, Frye), the conceptualizations of myth (Eliade, Vernant, Cassirer) and the relations between myth and bricolage (Lévi-Strauss), so as to understand better the technical and stylistic features present in the novel and how they appear as products of the logic of bricolage, encouraging the revitalization of certain myths and specifically the plantation myth, which legitimated the agrarian system of the South of the US. From our analysis we verify that the plenitude of the social dissolution of the South present in Faulkner's intrigue is only revealed when we observe the form and content of the mythical narrative which constitutes the novel
Neste trabalho analisamos o romance O som e a fúria, de William Faulkner, objetivando refletir sobre a estrutura mítica que sustenta e promove constante ressignificação da obra e a permanente dissolução encontrada em todos os estratos da narrativa. Para isso, sondamos os principais mitos e arquétipos que ecoam na obra e que são invertidos ou alterados pelo autor com o intuito de alicerçar a criação de uma narrativa moderna, em especial no que concerne à construção da forma. Nosso problema residiu na maneira pela qual abordar esse romance, no qual percebemos a utilização de certa lógica anticartesiana na disposição dos elementos constitutivos narradores, personagens, tempo, espaço, cronotopos, arquétipos, ambientação , que aparentam se encontrar subvertidos por sistema organizacional estruturado numa espécie de lógica da bricolagem, o que nos instigou à seguinte indagação: essa lógica consiste no motor organizacional de O som e a fúria? Dialogamos com os estudos acerca de mito e literatura (Dumézil, Meletínski, Frye), as conceituações sobre mito (Eliade, Vernant, Cassirer) e a relação entre mito e bricolagem (Lévi-Strauss), a fim de compreendermos quais os recursos técnicos e estilísticos presentes na obra e como estes se mostram produtos da lógica da bricolagem, promovendo a reatualização de certos mitos e, especificamente, do mito da plantação que legitimava o sistema agrário instaurado no Sul dos Estados Unidos. A partir de nossas observações, ressaltamos que a plenitude da dissolução social sulista presente na intriga faulkneriana somente se revela quando observados forma e conteúdo da narrativa mítica à qual constitui o romance
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Mitchem, Sarah Lewis. "Mythic Metamorphosis: Re-shaping Identity in the Works of H.D." Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/35614.
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In section fifteen of the poem The Walls Do Not Fall author Hilda Doolittle (H.D.) address her audience and articulates the purpose of the poet in the following lines: â we are the keepers of the secret,/ the carriers, the spinners/ of the rare intangible thread/ that binds all humanity/ to ancient wisdom,/ to antiquity;/â ¦every concrete object/ has abstract value, is timeless/ in the dream parallelâ (Trilogy 24). H.D. mined her own life for charged relationships which she then, through writing, connected to the mythic characters of antiquity whose tales embodied the same struggles she faced. Reading concrete objects as universal symbols which transcend time, her mind meshed the 20th century with previous cultures to create a nexus where the questions embedded in the human spirit are alive on multiple planes. The purpose of this research project is not to define her works as â successfulâ or â unsuccessful,â nor to weigh the works against each other in terms of â advancement.â Rather it is to describe the way she manipulates this most reliable of tools, mythic metamorphosis, in works stretching from her early Imagist poetry, through her long poem Trilogy, and finally into her last memoir End To Torment, taking note of the way she uses this tool to form beauty from harsh circumstances and help heal her shattered psyche.Master of Arts
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Knight, Deborah Frances. "Geographic enchantments : the trickster and crone in contemporary fairy tales and storytelling." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4195.
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Fairy tales are enchanting geographical stories, which affectively organize space-time in socially, politically, and ethically significant ways. Despite this, fairy tales have been neglected in the discipline of geography, and the inter-discipline of fairy tale studies has rarely interrogated the spatialities of tales, or of storytelling more widely. This thesis addresses this lacuna by theorizing the relationship between fairy tales, storytelling, and geography through the subversive folkloric figures of the trickster and crone. It posits, first, that we understand fairy tales as iterative stories that constitute mythic communities; and second, that trickster and crone figures are enchanting territorializing and deterritorializing refrains that subvert this mythic community. These two concerns are explored through Nolan’s (2008) Batman film The Dark Knight, and Maitland’s (2009) short story Moss Witch. An experimental research approach provides insight into these ‘worldly,’ enchanting, and symbolically rich stories, without sacrificing their liveliness or ‘systematizing’ them for ideological gain. The research begins with an interpretive textual analysis to address the symbolic traditions of the fairy tale refrains. Collage enables a ‘retelling’ of the stories as materially and visually expressive media. Genealogical analysis traces the material-discursive matterings of the geographical refrains within academic ‘storytelling.’ These combined approaches ‘story’ the trickster and crone as spatial patterns with affective force. Trickster refrains are animating forces of destruction and chaos. They shift between the centre and periphery of mythic community, violently overturn its seemingly ordered realities, and unfold insecure and profane in-between places, where (human) community can no longer be sustained. The crone refrain enacts a ‘wilding’ in fairy tales, entangling the civilized, storied human polis (or culture more generally) with the nonhuman ‘environment,’ and undermining both relational accounts of being and more romantic discourses of dwelling. Going forward, continued engagement with this nexus of geography, storytelling, and fairy tales promises to enrich our multidisciplinary endeavours, highlight our theoretical ‘matterings’ of fairy tales, and enable more responsible engagement with these endlessly enchanting stories.
Books on the topic "Mythical method"
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Minich, Richard A. The quest for girthra: Epic, heroic, mythic, mystic and comic methods for catching the great musky. East Aurora, NY: All Esox publications, 2005.
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Andò, Valeria. Euripide, Ifigenia in Aulide. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-513-1.
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This volume contains the first Italian critical edition with introduction, translation and commentary of Euripides’ Iphigenia in Aulis. The tragedy, exhibited posthumously in 405 BCE, stages the first mythical segment of the Trojan War, namely the sacrifice of Iphigenia, daughter of king Agamemnon, head of the Greek army, in order to propitiate the winds that should lead the navy to Troy. A tragedy of intrigue and unveiling, in which all the characters try to oppose the sacrifice, judged to be an impiety despite its sacred essence. It is therefore a tragedy without gods, in which characters of modest moral stature move, unstable, ready to sudden changes of mind, and among whom the protagonist stands out: the girl who, having overcome the dismay for the destiny awaiting her, voluntarily moves towards death on the altar, for a flimsy patriotic ideal and with the illusion of achieving immortal glory. Since the end of the eighteenth century, the text of this tragedy, handed over to us by the manuscript tradition, has been exposed more than others to a rigorous philological criticism that has broken its unity, through considerable expunctions of entire sections and sequences of verses. The volume traces the phases of this critical work, showing its methods – and sometimes its excesses – and choosing a balance line in the constitution of the text. The overall exegesis of the tragedy, which I propose in this study, consists in the belief that, despite the exodus being spurious, the finale, in view of which the entire dramaturgy was composed, still had to contemplate Iphigenia’s salvation. In fact, if the Panhellenic ideal of defence against the barbarians is now meaningless, and if a war of destruction, to begin with, needs the death of an innocent person, then this death must be transcended and the horror of human sacrifice must dissolve. It therefore seems that, once political current events become opaque, the poet’s research tends to create situations of great patheticism in an aesthetic setting of refined beauty.
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Uzendoski, Michael A., and Edith Felicia Calapucha-Tapuy. The Twins and the Jaguars. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036569.003.0005.
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This chapter employs the verse analysis method developed by Dell Hymes to analyze an Amazonian Quichua myth-narrative, “The Twins and the Jaguars,” from the province of Napo. The narrative's theme, “becoming a jaguar,” is expressed through a rhetorical logic of onset, ongoing, and outcome that unfolds as a structural transformation relation between humans and mythical jaguars. This structural transformation relation is mediated by a third element, the twins, who not only lend movement to structure but also advance the development of drama by obviating previous relations as a dynamic synecdoche. The chapter demonstrates the major contours of performative complexity involved in Amazonian Quichua narration of traditional mythical knowledge and the importance of the jaguar as an active and dominant symbolic “sign” of “becoming” in Napo Runa cosmology and culture. It shows that narrative performance emerges as an important artistic, cultural, and religious tool for experiencing the “transcendence” of everyday human form.
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León Romero, Luis Eduardo, and Paola Andrea Pérez Gil. Sunna Gua. Constataciones del alma. Ediciones Universidad Cooperativa de Colombia, 2020. http://dx.doi.org/10.16925/9789587602548.
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After years of ancestral journeys of the human psyche and the development of four transcendental research macroprojects in the field, it is time to undertake the method of ancestral walking on the living system of mother earth and her human son as a verifiable sense of essential nature and substantial of the soul. Method of walking in the loving order of the ancestors, the father and the mother, the cosmos and the earth, the sun and the moon. Co-responsible planting of bridging the integration of the ancestral left hand and the western right hand from the sensible, the construction of mythical thought as great logos, Huitaqa (thought) of the path of the soul (Sunna Gua), of the theory on the radical cosmogonic bases and epistemological of the spiritual foundation and of the individually and collectively mythical, mystical, botanical and ritualistic therapeuticsof the human psyche. Saved the modernist shames, a writing is presented on the proper as philosophy, science and psychology, for this reason, the scope of the present emergence of the quantum in the sacred fabric of a founding myth that recognizes and honors in psychism the evolutionary force of human conscience, an ancestral bet of increases of conscience in the confidence for the power of this soul that is sown fertile for the healing, transformation and evolution towards to the great spirit. What can a reader find in your narrative? Perhaps a sense of the lost and absent not clarified, the great illness of the contemporary psyche, the lack of faith, the absolute loss of confidence in the mythical and sacred presuppositions of the traditions that build culture, for the same reason the urgency of recovery from a stark bridging of law of origin to an ancestral psychology that consolidates such a human pretense of life in the life of the planet.
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Wilson, Alexandra. Opera in the Jazz Age. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190912666.001.0001.
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Opera in the Jazz Age examines the place of opera in the contemporary ‘battle of the brows’: a debate, prompted by the growth of the mass entertainment industry, about the extent to which art forms ought to be labelled ‘highbrow’, ‘middlebrow’, or ‘lowbrow’. The book considers this question from a number of viewpoints, examining topics including: the audience for opera during the period; opera’s interactions with forms of popular culture including jazz, film, and middlebrow novels; and the ways in which different types and nationalities of opera were categorised differently. A number of significant figures in the highbrow–lowbrow debate are scrutinised, among them highbrow and middlebrow critics, the mythical figure of the ‘man in the street’, and the much reviled celebrity singer. The book explains how modern technological dissemination methods such as gramophone recordings and broadcasting came to bear upon questions of cultural categorisation, as did contemporary anxieties about national identity. The book concludes that opera was very difficult to categorise according to the new terms: for some commentators it was too highbrow; for others not highbrow enough. Examining the battle of the brows through an operatic lens challenges received wisdom by revealing the fault lines in this supposedly definitive system of cultural categorisation, undermining any simplistic binary between the high and the low. More broadly, the book also gives a detailed account of British operatic culture of the 1920s from the perspectives of performance, staging, opera-going, and criticism.
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Heine, Steven. From Chinese Chan to Japanese Zen. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190637491.001.0001.
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This work provides a survey and critical investigation of the remarkable century from 1225 to 1325, during which the transformation of the Chinese Chan school into the Japanese Zen sect was successfully completed. The cycle of transfer began with a handful of Japanese pilgrims traveling to China, including Eisai, Dōgen, and Enni, in order to discover authentic Buddhism. They quickly learned that Chan, with the strong support of the secular elite, was well organized in terms of the intricate teaching techniques of various temple lineages. After receiving Dharma transmission through face-to-face meetings with prominent Chinese teachers, the Japanese monks returned with many spiritual resources. However, foreign rituals and customs met with resistance, so by the end of the thirteenth century it was difficult to imagine the success Zen would soon achieve. Following the arrival of a series of émigré monks, who gained the strong support of the shoguns for their continental teachings, Zen became the mainstream religious tradition in Japan. The transmission culminated in the 1320s when prominent leaders Daitō and Musō learned enough Chinese to overcome challenges from other sects with their Zen methods. The book examines the transcultural conundrum: how did Zen, which started half a millennium earlier as a mystical utopian cult primarily for reclusive monks who withdrew from society, gain a broad following among influential lay followers in both countries? It answers this question by developing a focus on the main mythical elements that contributed to the overall effectiveness of this transition, especially the Legend of Living Buddhas.
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Saunders, Max. Imagined Futures. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829454.001.0001.
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This study provides the first substantial history and analysis of the To-Day and To-Morrow series of 110 books, published by Kegan Paul Trench and Trübner (and E. P. Dutton in the USA) from 1923 to 1931, in which writers chose a topic, described its present, and predicted its future. Contributors included J. B. S. Haldane, Bertrand Russell, Vernon Lee, Robert Graves, Vera Brittain, Sylvia Pankhurst, Hugh McDiarmid, James Jeans, J. D. Bernal, Winifred Holtby, André Maurois, and many others. The study combines a comprehensive account of its interest, history, and range with a discussion of its key concerns, tropes, and influence. The argument focuses on science and technology, not only as the subject of many of the volumes, but also as method—especially through the paradigm of the human sciences—applied to other disciplines; and as a source of metaphors for representing other domains. It also includes chapters on war, technology, cultural studies, and literature and the arts. This book has three main aims. First, to reinstate the series as a vital contribution to the writing of modernity. Second, to reappraise modernism’s relation to the future, establishing a body of progressive writing which moves beyond the discourses of post-Darwinian degeneration and post-war disenchantment, projecting human futures rather than mythic or classical pasts. Third, to show how, as a co-ordinated body of futurological writing, the series is also revealing about the nature and practices of modern futurology.
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Pinto, Sarah. The Doctor and Mrs. A. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286676.001.0001.
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In the years leading up to India’s independence, a young Punjabi woman known to us only as Mrs. A., ill at ease in her marriage and eager for personal and national freedom, sat down with psychiatrist Dev Satya Nand for an experiment in his new and “Oriental” method of dream analysis. Her analysis, which appeared in a case self-published by Satya Nand, included a surge of emotion and reflections on sexuality, gender, marriage, ambition, trauma, and art. She turned to female figures from Hindu myth to reimagine her social world and its ethical arrangements. The stories of Draupadi and Shakuntala, from the Mahabharata, and Ahalya, from the Ramayana, helped her envision a future beyond marriage, colonial rule, and gendered constraints. This book is an exploration of Mrs. A.’s case, its window onto gender and sexuality in late colonial Indian society, and the ways her case put ethics in motion, creating alternatives to ideals of belonging, recognition, and consciousness. It finds in Mrs. A.’s musings repertoires for the creative transformation of ethical ideals and explores the possibilities of thinking with a concept of “counter-ethics” and from a position that sees ethics as plural in both content and form. Following Mrs. A. in pursuing mythic narratives and turning in its conclusion to art as a guide for theorizing, this book asks what perspectives on gender, power, meaning, and imagination are possible from the position of the counter-ethic and its orientation toward movement and change.
Book chapters on the topic "Mythical method"
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Schuster, John A. "Cartesian Method as Mythic Speech: A Diachronic and Structural Analysis." In The Politics and Rhetoric of Scientific Method, 33–95. Dordrecht: Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-4560-9_2.
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"T. S. ELIOT’S THE WASTE LAND AND THE POETICS OF THE MYTHICAL METHOD." In Modernism Revisited, 91–110. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401204880_007.
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Somos, Mark. "Introduction." In American States of Nature, 1–23. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462857.003.0001.
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The introduction summarizes the book’s thesis, spells out its original claims, and defines its organizing concepts. It surveys the broader chronological and intellectual context of the state of nature, including European uses of the term, as well as the stages in the evolution of the distinct American usage and their significance for the American Revolution and early constitutional design. Several early modern and Enlightenment meanings of the term are introduced, ranging from a mythical Golden Age through the pre-political human condition to innocence and damnation. The introduction also describes the book’s method, sources, and defines its chronological and thematic scope.
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Băltoiu, Andra, and Cătălin Buiu. "Representing Emotions as Dynamic Interactions of Symbols." In Handbook of Research on Synthesizing Human Emotion in Intelligent Systems and Robotics, 83–101. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-7278-9.ch003.
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This chapter proposes an emotional architecture organized around three pairs of antithetic universal symbols, or archetypes, derived from analytic psychology and anthropological accounts of mythical thinking. Their functions, relationships and interactions, on different levels of complexity within a dynamical system that mimics human emotional processes, are described by a formal model and a constructed ontology. The aim of the model is characterizing symbolic reasoning and figurative and analogue mechanisms of mental imagery associated with the internal representations of events. An automatic method for metaphor recognition and interpretation is proposed, targeting the identification of the proposed universal symbols in literary texts.
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Lehman, Robert S. "Satire." In Impossible Modernism. Stanford University Press, 2016. http://dx.doi.org/10.11126/stanford/9780804799041.003.0003.
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The second chapter treats the formal role played by satire in the drafts of The Waste Land, focusing in particular on T. S. Eliot’s parody of Alexander Pope’s Rape of the Lock in an early version of “The Fire Sermon.” In Eliot’s hands, satire becomes a means of responding to a specifically modernist crisis in aesthetic judgment: the seeming impossibility of distinguishing, after the collapse of traditional standards of beauty, popular charlatans from individuals of real talent. By placing The Waste Land under the sign of satire, Eliot attempts to distinguish his long poem from the wasteland of literary history that it recollects. The disappearance of satire from the final version of The Waste Land following the editorial suggestions of Pound, and Eliot’s replacement of his earlier satirical method by the so-called “mythical method” reflect satire’s failure to accomplish its task.
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Lehman, Robert S. "Myth." In Impossible Modernism. Stanford University Press, 2016. http://dx.doi.org/10.11126/stanford/9780804799041.003.0004.
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The third chapter focuses on T. S. Eliot’s turn to the “mythical method” as a strategy of literary creation through division. Examining the delimitation in The Waste Land of the history of verse as it develops from Chaucer to Whitman, it shows that Eliot turns to myth not to forge connections with something temporally or spatially other but to cut his poem free from its literary-historical past. Within the realm of myth, broken off from the unending historical cycles that provide The Waste Land with its subject matter, Eliot attempts to place the poet’s creative act. The results are volatile: history remains, in the poem, the space of production, however fallen its products, while myth stands apart from history as a space where nothing—not history and certainly not literary history—happens.
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Gibellini, Pietro. "Un viaggio tra i Fiori di Baudelaire." In «Un viaggio realmente avvenuto». Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-344-1/010.
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The author analyzes the journey motif in the poetic masterpiece of Charles Baudelaire, signaling and commenting all the texts where the term voyage and derivatives appears and considers in particular the poems where the keyword appears in the title: Bohémiens en voyage, L’Invitation au voyage, Un Voyage à Cythère, Le Voyage. In the passage from one text to another, the journey becomes little by little a physical experience to become, finally, a mental and spiritual dimension: in Bohémiens there is still a residue of romantic oleography; in the Invitation one dreams an exotic country, a mythical place, an earthly paradise that only the imagination can reach, in Le voyage à Cythère, the sacred island of Venus no longer has the legendary face of the classical world, but the dark and dramatic of modernity and evil; once all the illusions of earthly wanderings have fallen, only the last departure remains, Le voyage par excellence, to know the mystery that awaits beyond death. The textual analysis, conducted with a diachronic and synchronic method, becomes a cognitive analysis, a literary hermeneutic essay.
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Glowczewski, Barbara. "Warlpiri Dreaming Spaces: 1983 and 1985 Seminars with Félix Guattari." In Indigenising Anthropology with Guattari and Deleuze, 81–113. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474450300.003.0003.
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This chapter unfolds a dialog between Guattari and Glowczewski about Australian collective dream-work, totemism and rituals of resistance during collective discussions, including Eric Alliez, Jean-Claude Pollack and Anne Querrien. ‘Félix Guattari — Barbara is an anthropologist specialising in Australian Aboriginal peoples who has written a fascinating piece of work about the dreaming process. I’d like her to tell us a bit about the collective technology of dreams among the Australian Aboriginal people she has studied. In this context, not only do dreams not depend on individual keys, but they are also part of an a posteriori elaboration of the dream that anthropologists have characterised as mythical. But Barbara comes close to refuting that definition. And dreaming is identified with the law, and with the possibility of mapping the itineraries of these people, who circulate all the time since they cover hundreds of kilometers. Barbara, I would like to ask you to try to tell us how the dreaming method functions. My first question is to ask you to explain the relationship between dream, territory, and itinerary.’
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"In Parenthesis, the Eucharist and the Mythical Method1." In David Jones: A Christian Modernist?, 180–94. BRILL, 2017. http://dx.doi.org/10.1163/9789004356993_014.
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"Ted Hughes’s Anti-Mythic Method." In Ted Hughes, 111–17. Taylor & Francis, 2005. http://dx.doi.org/10.4324/9780203017982-16.
Full textConference papers on the topic "Mythical method"
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Lekić, Romana, Branimir Blajić, and Tena Franjić. "INTERPRETATION OF MYTHICAL LANDSCAPE AND HOLY GEOGRAPHY IN CREATIVE CULTURAL TOURISM." In Tourism in Southern and Eastern Europe. University of Rijeka, Faculty of Tourism and Hospitality Management, 2017. http://dx.doi.org/10.20867/tosee.04.1.
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This paper presents a scientific analysis of the topic of interpretation of intangible heritage in tourism – through the myth of the arrival of the Slavs. By planned design, myth becomes a real tourist attraction. Embarking from the postulates of the paper, we try to explain the importance of the local community for the interpretation of the intangible heritage and of establishing a sustainable system of its interpretation. The paper makes an effort to emphasize and prove the exceptional relevance of animation for the shaping and developing of a tourist product. Interdisciplinary features of the paper impose the use of recent sources from a variety of scientific fields and disciplines (archaeology, anthropology, phylology, cultural creative tourism, economy of experience). This entire paper has features of a scientific review which mostly uses desk method and deconstruction analysis aimed at intangible heritage and interpretative capacities in animation, within the economy of experience. The process of interpretation, which includes recognition and shaping or 'packaging', converts the myth into a tourist product. This packaging is not a mere cosmetic process which would help improve the product or simplify it. Interpretation is actually the essence, or the basic content of the product, which is sold in order to enrich the tourist offer by traditional elements which, in a large measure, form base of the national and regional identity. The contribution of this paper is the animation model for the interpretation of intangible heritage in a tourist destination of cultural tourism, which gives guidelines for the interpretation and formulation of intangible heritage for tourist purposes at a more subtle and higher level, outside the hitherto known frame of predictable and familiar processes.This model indicates the way to interpret the myth and to recognize and register its particular parts through the system, in the space, as local, regional and national attraction, which is illustrated by the example of 'holy geography'. A special contribution is in the change of paradigm, where it is shown that a tourist area can be interpreted in a novel, original way, as a spiritual resource for tourists visiting the area, and for the local population.
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Wijana, I. Dewa Putu. "Metaphors of Turtle Dove Physical Characteristics in a Javanese Community: A Preliminary Study." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.2-1.
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The Turtle dove (Javanese: perkutut) is one of most popular pets of the Javanese people. Here, they aim to have high quality turtle doves, either in the way that it chirps or in the luck that it may bring. The selection process is quite complex and extensive, one method of which is to carefully observe the physical characteristics of the bird. Accordingly, the community of turtle dove fans and experts has become enriched with a variety of turtle dove registers (words, phrases, idioms, etc.), many of which are metaphorical. This paper intends to study the metaphorical expressions used by the Javanese to compare the body characteristics of turtle doves with various natural and mythical realities surrounding the doves. The study will focus on how Javanese people associate the shapes of turtle dove body parts (the target domain) and natural objects used as a comparison (the source domain) for yielding metaphorical names of the turtle dove, either for obtaining a high quality sound or magical powers that the animal can bring to its owner.
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A. McLaughlin, Laura, and James McLaughlin. "Framing the Innovation Mindset." In InSITE 2021: Informing Science + IT Education Conferences. Informing Science Institute, 2021. http://dx.doi.org/10.28945/4771.
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Aim/Purpose: To build the skills of innovation, we must first establish a framework for the belief system that surrounds effective innovation practice. In building any belief system, sometimes outdated beliefs need to be replaced with better, more carefully researched ideas. One such belief, discovered in our research and elsewhere, is that creativity is innate and that great ideas arise through chance or happenstance. Background: One belief regarding innovation and creativity, discovered in our research and elsewhere, is the belief that creativity is innate. History has repeatedly shown this to be untrue, yet people still believe it. We have found within our research another belief is that innovation happens through random, unstructured processes -- that great ideas arise through chance or happenstance. However, participants also believed that innovation is a skill. If someone believes innovation is a skill but also believes innovation is innate, random, and unstructured, this disconnect presents obstacles for the training and development of innovation skills. Methodology: This research is based on a combination of background research and direct survey of innovators, educators, scientists, and engineers, in addition to the general public. The survey is used to illuminate the nature of significant beliefs related to creativity and innovation practice. Contribution: We examine the myths and truths behind creativity as well as the false beliefs behind innovation as we present a closed model for innovation and the key framing elements needed to build a successful, trainable, developable system that is the innovation mindset. And like any skill, creativity and innovation can be taught and learned using tools and processes that can be followed, tracked, and documented. If innovation is a skill, creativity should not re-quire magic or the production of ideas out of thin air. Findings: This paper identifies the historic nature of creativity as well as the general strategies used by innovators in implementing innovation practices and pro-poses a framework that supports the effective development of the innovation mindset. Recommendations for Practitioners: Apply the framework and encourage ideation and innovation participants to appreciate that they can learn to be creative and innovative. Start as early as possible in the education process, as all of these skills can be instructed at early ages. Recommendations for Researchers: Continue to gather survey data to support a refined understanding of the motivations behind the disconnect between innovation as a methodical skill and the beliefs in the use of random ideation techniques. Impact on Society: Transforming the understanding of creativity and innovation from one of mythical belief to one of methodical skill application will dramatically alter the lifelong impact of knowledge gained in support of global economic and environmental challenges. Future Research: A continuation of the recommended research paths and collaboration with other creativity researchers leading to improved methods for dissuading mythical beliefs toward formalized, systematic ideation and innovation practices. *** NOTE: This Proceedings paper was revised and published in the journal Issues in Informing Science and Information Technology, 18, 83-102. Click DOWNLOAD PDF to download the published paper. ***