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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.
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Avotiņa, Laura. "MYTHICAL TIME AND SPACE IN THE POETRY OF ULDIS BĒRZIŅŠ." Via Latgalica, no. 1 (December 31, 2008): 118. http://dx.doi.org/10.17770/latg2008.1.1602.
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One article describes the writings of Uldis Bērziņš, one of the most prominent Latvian poets and translators (and also a dissident) who made his debut in the 1960s. It focuses on the aspect of time and space. The 20th century is a time of re-evaluation of values and of a search for new ways of self-expression. Entrenched mythical notions experience transformation and renaissance. Hystorical myths as a source of instigation for Latvian literature (also in folklore) reach their climax in the 1920-40s and 1960-80s, i.e. in a period when problems of ethnic identity were emphasized more than ever. Uldis Bērziņš in his poetry successfully blends trends of modernism (and some of postmodernism) with mythical reality. He thereby refreshes the message of Latvian life, as well as reinforces particular trends common for whole humankind, which the author accomplishes with the help of cultural signs densely introduced into the texts. The objective of the paper is therefore to identify and emphasize dominant details of mythical time and space in the following anthologies by the Uldis Bērziņš: „Piemineklis kazai” („A Goat’s Monument”, 1980), „Poētisms baltkrievs” („The Poetism Belarussian”, 1984), „Nenotikuši atentāti” („Assassinations which never took place”, 1990), „Laiks” („Time”, together with Juris Kronbergs, 1994) and „Nozagti velosipēdi” („Stolen bicycles”, 1999). For the more detailed description of the peculiarities of the author’s works and for understanding the connection between the linguistic elements and the ethnical specifics of thinking, it was decided to use methods which are new to Latvian literary theory and are not so commonly referred to. Namely, a philological method was used for the in-depth text analysis (Николина 2007), and a linguo-culturological one for researching the connection of language and culture (Хороленко 2006). Speaking about U. Bērziņš’ notion of mythical time and space, it is referred to as an „eternal now” situation, which also includes details of historical and psychological time and space. However, mythical time and space is dominant: texts of the poems contain a very dense layer of mythologems (Odin, Odysseus, Thor), images (trees, mountains, wheels) and mythical concepts. This layer very often merges with the layers of folklore and religion which are introduced into the texts by means of stylization and reminiscences or allusions. The paper is organized according to the three dominant features of myths in the texts of Uldis Bērziņš – dichotomy, cyclicity, and syncretism. These are revealed with the help of particularly rich micro details and cultural signs and the transformation of folklore motives. Dichotomy as a disclosure of two aspects of one whole is carried out in the artistic space within the oppositions here and there, on the top and on the bottom, center and periphery, or insider and alien. These are characterized by symbolic notions of a mountain or a bridge, images of Riga and the Daugava, as well as the introduction of a mediator (a goat, bird or a ghost), which reach over the borders of time and space. Thereby the poet emphasizes fundamental ontological aspects which are concentrated in the semantic meanings of the notions of time, eternity and lifetime. In turn, by means of linguistic elements (not only semes, but also syntactical structure and pragmatic elements) Uldis Bērziņš pays attention to the multifunctionality and uniqueness of a language, and is trying to reach the level of a parent language. Within these dichotomies, the images, motives and signs also actualize a historic time and space. Thereby, a background for the disclosure of subtextual layers is organized, and simultaneously a point of view for several artistic chronotopes is expressed, which is interpreted as a symbiotic process in the poetry of Uldis Bērziņš. The search of oneself in the context of eternity is expressed with the help of the cyclicity principle. This is at the same time a tool for the illustration of different time spaces, which creates a synthesized model of an artistic world with a polyphony of linguistic elements. The cyclicity indicators in the poetry of Uldis Bērziņš are the images of a wheel, mill, and ball, as well as the interaction of the change of cycles of nature and human life. Special attention is paid to the points of intersection of time, thereby marking the Latvian year and the course of human life. In addition, the acknowledgment that the cycle is never-ending and repetitive, makes us look for interconnections with the philosophy of existentialism and a possible fulfillment of the meaning of life. Syncretism, on the contrary, as a combination of several different traditions, allows Uldis Bērziņš to emphasize features of cultural, linguistic and ethnic identity. In the united whole, i.e. in the interpretations of a sign, motive, image or myth, there is an accumulation of a few notions that create a peculiar effect of surrealism in a poetic text. For Bērziņš, syncretism is discovered in an image of a city, a sound, personal names (Peteris, Juris), religious characters (Jesus Christ, Krishna), and myths of the creation of the world. To find features of syncretism in a text, a reader does not only have to have some knowledge of mythology, religion, or culturology, but also needs associative thinking, since the poet often plays with phonemes and facts by linking them in rhythmically symbolic combinations. To sum up Uldis Bērziņš’ notions of mythical time and space, it can be concluded that the poet successfully uses the means of language, its meanings, its peculiar functions and associative nets in order to create a synthesized model of the mythical, historical, and psychological time space. This requires additional attention from a reader, because each poem is a subtextually dense discloser of a cultural heritage and an indicator of the search of oneself.
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Surtiana, Yunina. "Dibalik Fakta dan Mitos Fenomena Super Blue “Blood” Moon." Jurnal Filsafat Indonesia 1, no. 1 (May 4, 2018): 30. http://dx.doi.org/10.23887/jfi.v1i1.13972.
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This article discusses a natural phenomenon namely Super Blue (Blood) Moon (later to be referred as SBBM) in terms of scientific and mythical points of view. The method used in this study is literature study promoting library research as its instrument.Thus, as much literature as possible in a variety of types such as books, journals, and any articles is collected and later analyzed. Having synthesized the literature, this study finds out that in terms of science, it is a very phenomenal occurrence since there are three natural phenomena namely super moon, blood moon, and blue moon happening simultaneously. Researchers and scientists usually seize this moment for science. For instance, some of them study the temperature shift of the moon. In the meantime, in terms of mythical point of view, some beliefs starting from the moon fights with the sun, the moon is eaten by a dragon, and the moon contributes to maternal fertility, still exist among people around the world. In conclusion, there needs to be further socialization that SBBM is a scientific phenomenon and that it has nothing to do with the existing myths around the globe.
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Jamet, Pierre. "Modernist Concerns and Greek and Latin Culture: Thomas S. Eliot’ s Mythical Method in Thomas C. Wolfe’ s Novels." Dialogues d'histoire ancienne 41/1, no. 1 (2015): 229. http://dx.doi.org/10.3917/dha.411.0229.
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Gomes, Cassia Amélia, Luana Jéssica Gomes Pagung, Alexandre de Castro Campos, and Nelson Russo de Moraes. "O sagrado feminino: A figura arquetípica da mulher em narrativas míticas Paiter Suruí." Research, Society and Development 10, no. 7 (June 25, 2021): e57910716927. http://dx.doi.org/10.33448/rsd-v10i7.16927.
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O estudo analisa a figura feminina arquetípica presente nas narrativas míticas de autoria Paiter Suruí, povo indígena residente na fronteira entre os estados de Rondônia e Mato Grosso, no Brasil. Para tanto, utiliza-se como fonte de dados setes narrativas Paiter Suruí apresentadas no livro Vozes de Origem, uma coleção de histórias narradas por indígenas Paiter Suruí em sua língua de origem, o tupi-mondé, à antropóloga Betty Mindlin, responsável pela tradução para o português e organização do livro. Como referencial teórico-metodológico é utilizada a abordagem Analítica da Psicologia a partir do conceito de amplificação simbólica proposto por Carl G. Jung (18751961) e elaborado como método de análise por Marie Louise Von Franz (19151998). O percorrer da análise indica os arquétipos femininos existentes nessa cultura através de suas narrativas míticas, sendo predominante o Arquétipo da Donzela, da Grande Mãe e da Mulher Fatal. De acordo com a Psicologia Analítica, pode-se observar que a narração mítica indígena constitui um todo de sentido coerente e organizado sobre a psique: os processos inconscientes são transpostos para as narrativas, nas quais a figura arquetípica feminina surge como uma representação da figura da mulher na sociedade Paiter Suruí; e a narrativa mítica como uma representação da realidade cultural indígena dessa etnia, bem como uma propagação de seus valores. Partindo desse pressuposto, as narrativas míticas representam, por meio da simbologia, elementos de significado, tais como a organização da sociedade Paiter Suruí, aspectos que representam o feminino e os padrões de comportamentos esperados. The study analyzes the archetypal female figure present in the mythical narratives of Paiter Suruí, an indigenous people residing on the border between the states of Rondônia and Mato Grosso, in Brazil. For this, seven Paiter Suruí narratives presented in the book Vozes de Origem, a collection of stories narrated by Paiter Suruí indigenous peoples in their native language, the tupi-mondé,to the anthropologist Betty Mindlin, responsible for the translation into the Portuguese and organization of the book, are used as the data source. As a theoretical-methodological framework, the Analytical approach of Psychology is used from the concept of symbolic amplification proposed by Carl G. Jung (18751961) and elaborated as a method of analysis by Marie Louise Von Franz (19151998). The analysis course indicates the female archetypes existing in this culture through their mythical narratives, being predominant the Archetype of the Maiden, the Great Mother and the Fatal Woman. According to Analytical Psychology, it can be observed that the mythical indigenous narrative constitutes a coherent and organized sense of meaning about the psyche:unconscious processes are transposed into narratives, in which the female archetypal figure emerges as a representation of the figure of woman in Paiter Suruí society; and the mythical narrative as a representation of the indigenous cultural reality of this ethnicity, as well as a propagation of its values. Based on this assumption, the mythical narratives represent, through symbology, elements of meaning, such as the organization of the Paiter Suruí society, aspects that represent the feminine and the patterns of expected behaviors.
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ABD, Shamim Radhi. "HISTORICAL SYMBOL BETWEEN THE CONTROVERSY OF HISTORY AND REALITY :THE NOVEL OF LOVE, WHO CROSSES THE BORDER, AS A MODEL." RIMAK International Journal of Humanities and Social Sciences 03, no. 05 (June 1, 2021): 244–53. http://dx.doi.org/10.47832/2717-8293.5-3.24.
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This approach is based on observing images, events, and symbolic characters, then encompassing them in all their aspects, then showing the symbolic method that the novelist adopted to draw and present them in the narration of the novel. (A Lover Who Crosses the Borders) We find the mythical and symbolic tendency in building the narrative, as the novelist exploits the mythical environment that opens up to the past to record the conditions of the main character, and the nature of adaptation to the external environment, in addition to how to face life and its circumstances in different ways, most of the symbolic characters symbolized the pain of reality and the fragmentation of life, so the narrator built (his long story) or (his short novel) in a way that mixes the imagined and the reality. Most of the events and characters are realistic that embodied an imaginary narrative that confronted the Iraqi reality for psychological, social and political purposes. When the stage expanded with multiple crises, success was an ally of those who archive of Iraqi pain, and who embodied the interaction and communication between its past and present, as the novelist wrote in a modernist way that drew its visions from the imagination of Iraqi pain, and the stage recognized the creative exceptions that promote the literary face, and the task of expression is an occasional product of culture.
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Marusenkov, Vyacheslav V. "Film Reconstruction of the Past as a Method of Understanding Reality." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 52–59. http://dx.doi.org/10.17816/vgik9452-59.
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The article deals with the method of cine-reconstruction of the past in the film space. Basing on analysis of the means used cinematic language in B. Bertoluccis The Conformist the author traces visualization of the inner world of the personage through the reconstruction of his past as well as the mechanism of transformation of the current system of images into a new form of socio-cultural paradigms. The system of tools employed allows one to freely converse with the viewer using both the structure and imagery of the film, and the possibility of using the image to convey the deep essence of the author's message. Artistic and temporal characteristics of the screen text are inscribed into the viewer as elements of creation a direction of reflection on the material presented, often as a mythical code, which appeals to the collective unconscious. Reality surround is the result of an interaction between two forces, that is consciously-the unconscious movement of society toward a certain goal, and the base starting this movement. It is possible that this new goal is the continuation of existing, and perhaps vice versa. These works show that screen art, having a direct conversation with the viewer, has the opportunity to implement a new concept of collective consciousness.
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Wheeler, Garry D. "Challenging Our Assumptions in the Biological Area of Adapted Physical Activity: A Reaction to Shephard (1998)." Adapted Physical Activity Quarterly 15, no. 3 (July 1998): 236–49. http://dx.doi.org/10.1123/apaq.15.3.236.
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The biological area of adapted physical activity research has traditionally been dominated by the positivist or rational empirical paradigm, or the scientific method. Underlying assumptions of the inquirer and inquired’s objectivity and independence have generated much criticism. Researchers have argued that the scientific method produces an impoverished view of reality and that claims to an objective and value-free stance are ideological and mythical. Critique of rational-empiricism, the scientific method, present science, or the received-view may be understood at three levels: intraparadigmatic, extraparadigmatic, and intramethod. Dr. Shephard (1998) addresses the latter in his paper and as such, his is a method-based approach. A methodological analysis, however, requires examining the underlying tacit assumptions of the scientific method. In this paper, critique of the scientific method is offered and justification of the critique examined. Proposed alternatives include an expansionist view of research, inclusion of subjective elements, triangulated designs, and empowerment of subjects.
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Basu, Aritra. "Humanly Gods or Godly Humans: Representation and Anthropomorphism of Mythical Characters in Amish Tripathi’s Shiva Trilogy." IJOHMN (International Journal online of Humanities) 6, no. 1 (February 4, 2020): 9. http://dx.doi.org/10.24113/ijohmn.v6i1.162.
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This paper attempts to analyse the representation of mythical characters in the three novels by Amish Tripathi, namely The immortals of Meluha, The secret of the Nagas and The oath of the Vayuputras. The protagonist is a human being, Shiva, whose bildungsroman through the trilogy transforms him into a God, but without actually changing any of his physical attributes. Thus, at the level of anthropomorphism, this method of representation sheds light on the humane aspect of the divinity. From a perspective of feminist understanding of disability, the character of Kali would be studied, as an initial outcast to an important character in the last two books. Thus, this paper would conclude that Tripathi attempts at a vision of inclusivity, by his clever techniques of the representation of the disabled and the divine alike.
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Sunghee Kim. "Mythical Imagination and Myth Rewriting Method in Korean Contempory Dramas- Focusing on Abi the Great and The Sensation of the Wife." Journal of korean theatre studies association 1, no. 67 (August 2018): 5–46. http://dx.doi.org/10.18396/ktsa.2018.1.67.001.
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Arianto, Tomi. "The Fair and Wise King behind the Sacred Myth of Puak Reflected the Leader Horizon Representation of Kampong Tua Malay Nongsa: Ethnoecological Approach." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 17, no. 2 (October 31, 2020): 63–76. http://dx.doi.org/10.24821/tnl.v17i2.4343.
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Longing for a just and wise leader built a horizon of hope for society behind the mythical stories of the king of dreams. Like the fringe warriors in Javanese society, the Malays in Kampong Tua Nongsa have a role model king known as The King of Fuang. This study aimed to reveal the theme of ethnoecology in the Malay community behind the mythical story of Puak sacred in Nongsa, a Batam district. The ethnoecology approach connected a community paradigm that is formed due to natural phenomena. The interaction between humans and nature through the sacred existence of Puak was created by the role model of the king. This study used a qualitative descriptive method with observation data collection techniques and in-depth interviews. Analytical criticism techniques become a meant to reveal the ethnoecology behind the story. The results of this research show that there are two important things to discuss, namely the representation of the just king and cultural products from nature in the form of prohibitions. A king who is a role model for the hope of a community leader in the form of a king who is honest and keeps his promises, a king who does not want to be exalted and exalted, a king who is just and wise, a king who is simple, a king who protects and preserves nature. Meanwhile, the resulting cultural products are in the form of prohibitions on destroying forests, prohibitions on cutting hills, prohibitions on lying, prohibitions on speaking arrogantly, prohibitions on speaking dirty, and prohibitions on wasting wealth.
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Munandar, Ilham, and Dian Indira. "Makna di Balik Legenda “Gunung Tangkuban Parahu”: Suatu Kajian Semiotik." Nusa: Jurnal Ilmu Bahasa dan Sastra 16, no. 1 (February 28, 2021): 1–10. http://dx.doi.org/10.14710/nusa.16.1.1-10.
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In this research, the meaning of the legend of “Gunung Tangkuban Parahu” is analyzed. The problem in this research is to investigate how denotation, connotation, as well as myth in the legend of “Gunung Tangkuban Parahu”. The objective of this research is to know denotation meaning as signifier, connotation meaning as signifier, as well as myth in the legend of “Gunung Tangkuban Parahu”. Roland Barthes’s semiotics theory is used in this research which identified two orders of signification, the first order signification is the language aspect, and the second one is the mythical aspect. The method used in this research is qualitative research method. Based on the result, it is found the denotation of Gunung Tangkuban Parahu” as a signifier, the connotation of Gunung Tangkuban Parahu as a signifier of forbidden love between mom and son, and the myth of Gunung Tangkuban Parahu which is formed from an upside down boat.
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Zakharov, Maximilian A., Svetlana M. Prokopieva, and Agafja E. Zakharova. "Metaphors and linguistic image in the analysis of phraseological units of the archaic Olonkho narrative." Revista de la Universidad del Zulia 12, no. 34 (September 2, 2021): 572–84. http://dx.doi.org/10.46925//rdluz.34.31.
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The article analyzes metaphors in the linguistic image of the world using the description of the sky (айыы) and underground (абаасы), mythical creatures represented in phraseological units with numbers in T.V. Zakharov-Chääbij's Epic (2018) "Bulkun Wing the Hero". Compositional analysis, context analysis and the method of phraseological identification were used. The general method of investigation is induction-deduction, with theoretical conclusions drawn from the analysis of the material. The study of the linguistic image of the world in the Yakut epic Olonkho provides insight into the hidden creative process of an Olonkho narrator that recreates the structured and almost canonized oral tradition embedded in his repertoire. Phraseological units (PU) with a numerical component reflect a specific worldview through two opposing forces. PU animates the epic image of the world, representing a unique and rich language, and preserving the distant world of ancestors for us and future generations
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Aghazadeh, Jafar, and Hasan Mohammadi. "The Royal Institution in Ancient Iran." Asian Social Science 12, no. 10 (September 19, 2016): 71. http://dx.doi.org/10.5539/ass.v12n10p71.
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<p>In the thoughts and beliefs of Iranians, kingdom has had a history of the creation of human beings on the earth. Accordingly, Iranians believe that the first creature and human being on the earth was the first king of Iran. Iranians connects the history of their mythical royal dynasties to the creation of humanity. For Iranians, the mythical kings of Iran are the creators of the royal institution and the functions and duties of the royal institution have been established, developed and transferred to next generations by the measures of these kings. The objective of the present study is to investigate the establishment of the royal institution and the development of royal institution in ancient Iran by a descriptive-analytical method. The findings indicate that Iranians had specific sacredness for their kings and called the first creature of Ahura Mazda as the King. In addition, they believed that kings should perform particular tasks whose formation was attributed to the mythical kings of Iran. Further, they believed that only those persons had the right of being a king who were from the race of kings and were approved by Ahura Mazda. to examine Lessing’s elucidation of authentic knowledge in <em>Shikasta</em>. The methodology appropriated in the paper entails depiction of visible world as an illusion of the Real pointed in Plato’s allegory of Cave and Nagarjuna’s Mundane Truth. We clarify emotion as the main motivator of such illusionary status stressed in both Plato and Nagarjuna’s thoughts. We argue that while the importance of reason and eradicating emotion cannot be ignored, what adjoins people to Truth is mindfulness and intuitive knowledge which is close to Nagarjuna’s non-dual patterns. By examining ordinary life as the illusion of Real, and emotion as the main obstacle to achieve the Truth emphasized in both Nagarjuna and Plato’s trends, we depart from other critics who undermine the eminence of essentialist trace in Lessing’s works and examine her approach towards Truth merely under postmodern lens. This departure is significant since we clarify while essentialism has been abandoned to a large extent and supporters of Plato have become scarce, amalgamation of his thoughts with spiritual trends opens a fresh way to earn authenticity in Lessing’s novel. </p><p> </p>
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Коваль, Оксана Анатольевна, and Злата Владимировна Казанцева. "A LOOK INTO THE DEPTH OF TIME: THE PHOTOGRAPHIC REPRODUCTION OF A MYTHICAL REALITY." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3(25) (September 18, 2020): 156–67. http://dx.doi.org/10.23951/2312-7899-2020-3-156-167.
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В эссе предпринимается попытка представить искусство фотографии как особый способ отношений со временем. Ограничиваясь фиксацией момента настоящего, фотография тем не менее сохраняет в себе весь темпоральный спектр: с одной стороны, она корреспондирует с прошлым, выступая его документальным свидетельством, а с другой – всегда создается с перспективой последующего разглядывания, т. е. в ожидании довершающей ее актуализации в будущем. Уникальность такого соединения времен состоит в том, что настоящее здесь не вытесняет прошлое и не сменяется будущим, но все они сосуществуют вместе и наравне друг с другом. Подобной полнотой времен, согласно библейскому преданию, отличалась жизнь в раю. Мифопоэтическая модель, реконструируемая исходя из традиционного христианского учения о сотворении мира, предполагает абсолютный модус времени, который мыслится как переход от самотождественной вечности Бога к постоянной изменчивости человеческого бытия после грехопадения. Доведенная до совершенства техника фотографического запечатления реальности кажется полной противоположностью безыскусности первого человека, однако, как показывает предпринятый анализ, именно технические возможности современности предоставляют в наше распоряжение оптику, способную приблизить безвозвратно потерянный хронотоп рая. Возведение фотографии как искусства новой эпохи, эпохи модерн, к столь архаичным представлениям обосновывается в эссе путем привлечения философских размышлений Вальтера Беньямина. Его эсхатологическое понимание истории и вызванная таким пониманием ностальгия по утраченному человечеством идеальному состоянию позволяет рассматривать и саму фотографию в качестве художественной рецепции образно-символической модели первовремени. Применяя к фотографии изобретенный Беньямином метод толкования времени в пространственных категориях, удается установить ее определяющую роль в деле (вос) производства культурных смыслов, раскрыть секрет ее притягательности как идеализирующей действительность практики и обнаружить ее эвристический потенциал, допускающий новый взгляд на природу времени. От современного зрителя с его тягой к избыточной визуализации мира ускользает мифологический элемент фотографического искусства, легитимирующий «археологический» подход в изучении последнего и вносящий в процесс технической воспроизводимости новых медиа элемент чудесного. Магия фотографии сбывается как эхо первозданного универсума, в котором божественная вечность еще гарантирует бессмертие текущему моменту. The essay attempts to present the art of photography as a special relationship with time. A photograph is most often seen as a fixation of the present moment. Nevertheless, it contains the entire temporal spectrum: on the one hand, it corresponds with the past, acting as its documentary evidence; on the other hand, it is always created with the prospect of subsequent viewing, i.e., in the anticipation of its completion in the future. The uniqueness of time connections in photographs lies in the fact that the present does not crowd out the past and does not give way to the future, but they all coexist on an equal basis. According to the biblical tradition, such a fullness of times was traced in life in paradise. The mythopoetic model, reconstructed on the basis of the traditional Christian doctrine of the world’s creation, suggests an absolute modus temporis. It is thought as a transitional stage from the self-identical eternity of God to the constant variability of human existence after the Fall. At first glance, the perfected technique of photography seems to be the exact opposite of the artlessness that distinguished the life of the first man. However, as the analysis shows, it is the technical capabilities of modernity that offer us special optics that can bring the lost chronotope of paradise closer. The reference of photography as the art of the new epoch, the epoch of modernity, to such archaic ideas is justified in the essay through the attraction of the philosophical reflections of Walter Benjamin. His eschatological understanding of history caused nostalgia for the ideal condition of being that was lost by mankind. This made it possible to consider photography as an artistic expression of the figurative and symbolic model of the initial time. If to apply the method of time interpretation in spatial categories Benjamin invented to photos, one can establish its important role in the (re)production of cultural meanings, reveal the secret of its attractiveness as an idealizing practice, and find its heuristic potential that opens a new perspective on the nature of time. The mythological element of the photographic art eludes the modern viewer due to excessive visualization of the world. However, it is this element that legitimizes the “archaeological” approach to the study of photography and introduces a certain element of the miraculous into the process of technical reproducibility of new media. The magic of photography manifests itself as an echo of the primeval universum, in which the divine eternity still guarantees the immortality of the current moment.
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Villegas López, Sonia. "Truth and Wonder in Richard Head’s Geographical Fictions." Sederi, no. 30 (2020): 117–37. http://dx.doi.org/10.34136/sederi.2020.6.
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In line with the method prescribed by members of the Royal Society for natural history and travel writing, Richard Head explored the limits of verisimilitude associated with geographical discourse in his three fictions The Floating Island (1673), The Western Wonder (1674) and O-Brazile (1675). In them he argues in favor of the existence of the mysterious Brazile island and uses the factual discourse of the travel diarist to present a semi-mythical place whose very notion stretches the limits of believability. In line with recent critical interpretations of late seventeenth-century fiction as deceptive, and setting the reading of Head’s narrations in connection with other types of travel writing, I argue that Head’s fictions are a means of testing the readers’ gullibility at a time when the status of prose, both fictional and non-fictional, is subject to debate.
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Wewengkang, Nontje Deisye. "MAKNA BUDAYA DALAM MITOS DI MINAHASA (MEANING OF CULTURE IN MYTHS IN MINAHASA)." Kadera Bahasa 10, no. 2 (December 20, 2018): 105–19. http://dx.doi.org/10.47541/kaba.v10i2.48.
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Myth is a medium of understanding and inheriting cultural values that are believed by society in the past and also influences people’s mindsets in the present. In this study, myth is a reflection of social structures and social relations in which there are basic feelings commonly shared by human beings, such as love, , or revenge. This study aims to (1) describe the mythical myths Minahasa and (2) express the cultural meanings of the Minahasa people contained in Minahasa myths. The benefits of this study are in the form of disclosing the concepts of cultural meaning possessed by the Minahasa tribe so that they can broaden the horizons of thought about Minahasa society and culture. The method used in this study is the expository description method. Lévi-Strauss states that myths are formed by units of basic elements, in which the basic element units have a dual structural structure, namely historical and ahistorical at the same time whose elements are combined or connected to one another to produce meaning.
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Jafri, Beenash. "Black Representations of Settlement on Film." Cultural Studies ↔ Critical Methodologies 17, no. 1 (July 25, 2016): 50–59. http://dx.doi.org/10.1177/1532708616638697.
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This article develops a method for analyzing Indigenous erasure in popular film that focuses not on the representations (or lack thereof) of Indigenous peoples but on representations of settlement. Whereas much of the scholarship on Native representations in film has been concerned with Hollywood’s promulgation of the “mythical Indian,” I argue that a focus on settlement—rather than on bodies—is significant in the context of the ongoing, unfinished processes of colonialism, which continue to structure life in white settler states. Cultural representations that reconfigure colonial-occupied life as settled life naturalize settler colonialism while erasing and displacing Indigenous claims to land. I illuminate this method by analyzing how the 1974 “blaxploitation Western” Thomasine and Bushrod imagines settlement. The film features a pair of lovers who are on the run from the law in America’s Southwest from 1911 to 1915. Because it is a film that speaks back to historical constructions of Blackness and Indigeneity, Thomasine and Bushrod productively illuminates how representations of Indigenous erasure work in often ambiguous and contradictory ways.
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Kerimova, R. A. "The ethnic-cultural space of modern Karachay-Balkar poetry." Voprosy literatury, no. 4 (August 22, 2019): 247–59. http://dx.doi.org/10.31425/0042-8795-2019-4-247-259.
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The article is devoted to the problems of ethnic-cultural perceptions in contemporary Karachay-Balkar poetry. It defines criteria for shaping an ethnic and civic self-identity. The paper discusses how cultural globalization affects the ideology of the Karachay-Balkar people. In a detailed analysis of works by N. Bayramkulov and A. Bakkuev, two poets of a younger generation, the author argues that fundamental values and stereotypes take priority in the poetic mentality of younger artists. Closely examining the themes of the poets’ works – philosophy, religion, history, society and politics – the author specially describes the way each poet deals with the nation’s artistic memory. Another focus is on the analysis of poetics. It is suggested that the young poets’ creative method is found at convergence of realism and mythopoeia. Their poetry centers around the mythical images of stone, water, mountains, and ‘taulu’ (‘a man of the mountains’).
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Leandro, Sandra. "A HOMELAND DIVIDED IN SQUARES: JOAQUIM DE VASCONCELOS (1849-1936) IDENTITY PANELS." ARTis ON, no. 8 (December 30, 2018): 34–44. http://dx.doi.org/10.37935/aion.v0i8.215.
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Considered the founder of Art History in Portugal with a rigorous method, Joaquim de Vasconcelos was also a Musicologist, Museologist, Teacher and Professor, Art Critic and a “champion” of visual transmission “systems” like Photography and Drawing. His capacity for critical analysis, his anarchic enthusiasm for various areas of knowledge, providing ways of thinking and acting when almost everything was still undone, impose him as an anti-mythical and unique character who created his own legend, a myth and a romantic hero, a master of himself far beyond from Gottfried Semper (1803-1879) or Giambattista Cavalcaselle (1819-1897) just to point out two of the masters that he admired. Homeland squares are not only a way of referring how tiles are a very important part of the Portuguese identity puzzle, but also a way of alluding to the geometry of parallels and meridians that Joaquim de Vasconcelos drew when trying to identify the Art in Portugal.
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Gunnell, John G. "The Vocations of Political Theory. Edited by Jason A. Frank and John Tambornino. Minneapolis: University of Minnesota Press, 2000. 400p. $57.95 cloth, $22.95 paper." American Political Science Review 96, no. 1 (March 2002): 180–81. http://dx.doi.org/10.1017/s0003055402304313.
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A generation ago, Sheldon Wolin evoked an image of the vocation of political theory as an alternative to the behavioral program of theory and scientific inquiry that had come to dominate political science. His call also summoned those who believed that, in the midst of the political turmoil of the 1960s, the mainstream of the discipline had become politically quiescent and, at least by its inaction, even implicated in the political crises of the time. Intellectual and ideological choices were, indeed, involved, but Wolin was implicitly also giving voice to a professional identity for a large segment of the academic subfield of political theory that had been evolving for at least three decades. His articulation of the vocation was, however, as mythical as the method of science to which much of political science had subscribed, and these hegemonic legitimating myths ultimately could neither withstand critical scrutiny nor suppress the latent differences within each.
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Pentkovskaya, Tatiana. "Russian Translation of the Quran, Printed in 1716: Problems of Studying." Stephanos Peer reviewed multilanguage scientific journal 44, no. 6 (December 30, 2020): 43–52. http://dx.doi.org/10.24249/2309-9917-2020-44-6-43-52.
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The paper deals with key issues related to the study of the Russian translation of the Quran, printed in St. Petersburg in 1716. The article provides information about the French and Dutch editions of the Du Ryer translation of 1647. Their structure is compared with the structure of the Russian translation. The possibility of obtaining a French edition from both France and the Netherlands is considered. The question is raised about the possibility of the Russian translator acquaintance with the Dutch version made by J.H. Glazenmaker. However the presence of chapter numbering and correct transmission of the description of the mythical animal Burak in the Dutch translation show that the Dutch translation was not used by the Russian translator. Three stages of working on the Russian translation are differentiated. This raises the problem of identifying the nature of the original Russian translation and the method of work of an anonymous translator on the French text.
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Ahmad, Arinal Haqqiyah, Bukhari Daud, and Dohra Fitrisia. "The analysis of best-seller fantasy novel covers in 2019 through multimodal lens." English Education Journal 12, no. 1 (January 31, 2021): 1–18. http://dx.doi.org/10.24815/eej.v12i1.19140.
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The purpose of this research was to analyze ten covers of 2019 best-seller fantasy novels through multimodal. The research method used was qualitative research. The objects in this research were ten book covers of 2019 best-seller fantasy novels. The instruments used were documentation that aimed at obtaining data, including relevant books, study, activity reporting, relevant research data. Content analysis was used to obtain the data. This study used five phased cycles in analyzing the data; compiling, disassembling, reassembling, interpreting, and concluding. The result of analyzing the novels is emphasized in two focuses, including representation and interactive function. Several novels have a narrative aspect, while others contain conceptual interpretation, which is part of a representative function. It was very challenging to interpret some implicit meaning of the symbols in some of the novels as it requires mythical knowledge. Therefore, it is expected that understanding the implicit meaning comprehensively will make readers easier to understand the story outline of the novel.
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Shaughnessy, Edward L. "David S. Nivison, the Bamboo Annals, and the Chronology of Xia: Personal Reflections on Historical Method." Journal of Chinese Humanities 5, no. 1 (November 28, 2019): 6–17. http://dx.doi.org/10.1163/23521341-12340069.
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Abstract David Shepherd Nivison (1923-2014) devoted the last three and a half decades of his life to an attempt to reconstruct the original text of the Bamboo Annals and to use that text to reconstruct the absolute chronology of ancient China. Nivison’s attempt to reconstruct that chronology involved astronomy; textual criticism, especially—though not exclusively—of the Bamboo Annals; and a considerable amount of historiographical conjecture concerning both the period of the Xia dynasty and of the Warring States period, during which, Nivison argues, the Bamboo Annals was undergoing multiple revisions. This attempt was also based on three major theses: (1) the Xia kings were named for the tiangan 天干 of the first day of the first year of their reign; (2) irregular gaps of zero, one, two, three, four, and even forty years recorded in the Bamboo Annals between the reigns of Xia kings should invariably have been two years; and (3) the final Xia king, Jie 桀, is completely mythical. In this article, I first present Nivison’s arguments and then present a critique of those arguments, based on my own study of the Bamboo Annals. My own study of the Bamboo Annals in turn has shown three points that are important for understanding its annals of Xia: that at least some of the manuscript was damaged or lost when it was taken from the tomb, that the Western Jin editors made some mistakes in their editing of the text, and that they added commentary to the text. Based on this discussion, I conclude that Nivison’s hypothesis concerning the chronology of the Xia dynasty remains just that: a hypothesis.
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Yunita, Galuh Farah Rahma, and Sugiarti Sugiarti. "Kajian Mitos dalam Novel 'Aroma Karsa' Karya Dewi Lestari Perspektif Ekologi Budaya (The Myth Study inside of ‘Aroma Karsa’ Novel By Dewi Lestari Perspective of Culture Ecology)." Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya 9, no. 2 (December 10, 2020): 156. http://dx.doi.org/10.26714/lensa.9.2.2019.156-173.
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Lingkungan budaya dengan segala kompleksitasnya mampu memberikan sumbangan terhadap lahirnya mitos. Penelitian ini bertujuan untuk mendeskripsikan fakta-fakta mitos, fungsi mitos, dan keterkaitan mitos dengan lingkungan budaya. Ekologi budaya dipilih sebagai pendekatan, karena masyarakat dan lingkungan budaya tidak dapat dipisahkan dari aspek penciptaan karya sastra. Adapun teori yang digunakan adalah strukturalisme Claude Levi-Strauss berupa miteme yaitu unsur-unsur terkecil dalam mitos. Penelitian ini menggunakan metode deskriptif analisis untuk mendeskripsikan mitos-mitos dalam novel dengan melibatkan lingkungan budaya. Data penelitian berupa sekuen cerita, kutipan satuan cerita berwujud kutipan langsung, dialog, dan monolog tentang mitos. Sumber data penelitian berasal dari novel Aroma Karsa karya Dewi Lestari. Pengumpulan data dilakukan melalui studi pustaka berupa membaca novel Aroma Karsa karya Dewi Lestari, dan ditunjang dengan buku dan sumber lain yang relevan dengan rumusan masalah. Analisis data dilakukan dengan mengidentifikasi data, mengklasifikasikan data, menganalisis data, dan penarikan kesimpulan. Hasil penelitian yaitu mengungkapkan fakta-fakta mitos melalui rangkaian peristiwa, miteme yang menghadirkan Puspa Karsa sebagai tokoh sakral, kehidupan Puspa Karsa, dan benda-benda yang terungkap dalamnya. Kehadiran Puspa Karsa dan tokoh-tokoh mitologi lainnya memberikan fungsi tersendiri, salah satunya untuk memberikan pemahaman bahwa ada kekuatan lain yang hidup berdampingan dengan manusia. Lokasi taman Puspa Karsa memanfaatkan Lingkungan budaya masyarakat Jawa Tengah yang melahirkan beragam mitos, namun masih diyakini kebenarannya.Kata kunci: mitos, kajian budaya, mitemeABSTRACTCultural environment with all of the complexity is able to contribute to the existence of myths. This research aims to describe mythical facts, mythical function, and relation between myths with cultural environment. Cultural ecology is chosen as an approach, because society and cultural environment cannot be separated from creation of literary aspect. The theory used is the structuralism of Claude Levi-Strauss in the form of mytheme that is the smallest elements in the myth. The research uses descriptive analysis method in order to describe the myths in the novels by involving cultural environment. The data in this study are sequence story, story unit quotes in form of direct quotation, dialogue and monologues about myths. The research sources are from Dewi Lestari’s ‘Aroma Karsa’ novels. Data collection is carried out through literature studies in the form of reading ‘Aroma Karsa’, novel by Dewi Lestari also supported by another books and relevant sources for adjust the problem statement. Data analysis has done by identifying data, classifying data, analyzing data, and concluding the data. The result of the study were to reveal mythical facts through some events, a mytheme that presented Puspa Karsa as a sacred figure, the life of Puspa Karsa, anda objects revealed in it. The presence of Puspa Karsa and other mythological figure provides its own function, one of which is to provide an understanding that there are other forces that coexist with humans. The location of Puspa Karsa park makes use of the cultural environment of the Central Java people which raisesariety of myths, but the truth is still believed.
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Määttä, Kaarina, Henna Päiveröinen, Riikka Määttä, and Satu Uusiautti. "How Did I Become Me?—Identical Female Twins Describe the Development of Their Individuality." Journal of Educational and Developmental Psychology 6, no. 2 (July 12, 2016): 37. http://dx.doi.org/10.5539/jedp.v6n2p37.
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<p> </p><p>The purpose of this study was to describe the development of individuality and identity in female twins in the light of their upbringing experiences as described by themselves. Twin studies have traditionally been quantitative comparisons to singletons. On the one hand, research has drawn a mythical picture of twins, and one the other hand, studies have focused on the difficulties of growing as a separate, individual person. This was a qualitative study in which five Finnish identical female twins participated. They were interviewed with a themed interview method. In addition, they were asked to write about their upbringing and childhood. The sets of data were analyzed with a qualitative content analysis method. The results show that the twins’ identity development was challenged with clues given by their parents, from school and wider community, as well as by the impression they themselves had given to others about twinhood. Their individuality developed within the interaction between the sense of belonging together and other social relationships. The study also shows the important role of upbringing in identity development.</p><p><span style="font-family: Times New Roman;"><br /></span></p>
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Syahputri, Veni Nella, Meta Keumala, Endah Anisa Rahma, Zahratul Idami, and Edy Saputra. "“Don't sweep the floor!” Verbal and nonverbal taboo in Nagan Raya, Aceh." Studies in English Language and Education 6, no. 2 (October 1, 2019): 309–18. http://dx.doi.org/10.24815/siele.v6i2.14785.
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In daily life, individuals occasionally use language to connect with other individuals, and they have their specific manner to pick the language variety which can affirm their character. This language can be in the form of verbal and nonverbal language. This research aimed at finding out the types of verbal and non-verbal taboo, along with the mythical and factual reasons underlying their usage. The method used was qualitatively based. The data collection was done through several interviews with the participants who are the native speakers of Acehnese in Nagan Raya. Later on, the data were recorded using an android device and in the analysis, the three-step analysis was employed. The process was data reduction, data display, and data verification. Then the results show that, first, nine swearing taboo words are occasionally used by the people there. The reason for using these words is generally to express anger and disappointment. Second, concerning the non-verbal taboo, there were 10 data obtained concerning non-verbal taboo, and the reason behind using these nonverbal taboo is to threat the youth to get them obedient so that they can carry out the day safely.
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Plichta, Paweł. "Is Camino Francés still Pilgrimage or is it already Tourism? An Attempt at Answering based on the Memories of Polish Camino Men." Folia Turistica 39 (June 30, 2016): 0. http://dx.doi.org/10.5604/01.3001.0010.4219.
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Purpose. The main purpose of the article is the answer the question: ‘Is Camino Francés still seen as pilgrimage or maybe as tourism?’ The author proves that mythical ideas are a ground for valuing the duality present in various types of statements by Polish authors of memories of the caminos. Method. In this article, the analytical approach to varied source materials has been adopted, either literature or popular and scientific texts, created by authors that walk through Camino de Santiago themselves. Also, other materials that were collected by the authors during their pilgrimages and participants’ observations were used. Finally, Manifesto of Villafraca del Bierzo was examined. It is a document analysing issues discussed in the article in a formal way. Findings. Camino Francés is perceived as a pilgrimage by people who experienced it by walking or riding a bike. The term ‘tourism’ is used in their statements as a clear contradiction. Moreover, the dichotomy pilgrimage – tourism (pilgrim – tourist) has a valuing dimension, which is also noticed by authors of the scientific studies. Research and conclusion limitations. Due to the formal requirements regarding the text volume, the analysis has been limited to printed sources available in the Polish language. For the same reasons, it was only one of the most important (the same for camino men and researchers trying to determine the nature of modern Camino) aspect found in these works. Originality. Until now, none of the articles about Camino Francés have been published in the context of the pilgrimage–tourism dichotomy and its mythical grounds. Neither was the evaluation of this phenomenon has been described regarding the Polish authors of memories. Even the quoted article by Krystyna Zabawa: The phenomenon of the pilgrimages to Santiago de Compostela in the latest Polish relations and research was called by its author ‘a short and sketchy diagnosis of recent Polish literature concerning the pilgrimage to Santiago de Compostela’. It has been limited, however, to selected works only published before 2009. Agnieszka Jaworska – in her book – again, drew attention to the lack of interest on this issue. Nonetheless, she pointed out and analyzed the main features of this type of literature. Adam Kucharski recently proposed typologies of Polish memories concerning the Camino. Type of paper. This is an analytical study.
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Sun (孫慶偉), Qingwei, and Ady Van den Stock. "Toward an Archeological Reconstruction of the Xia Dynasty as History: Delineations and Methods." Journal of Chinese Humanities 5, no. 1 (November 28, 2019): 18–42. http://dx.doi.org/10.1163/23521341-12340070.
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Abstract In a broad sense, the term “Xia culture” means the culture of the Xia dynasty [ca. 2100-1600 BCE] period. In a narrower sense, however, it refers to the culture of the Xiahou 夏后 clan of the mythical founder Yu 禹. In much of the contemporary research, the question of the primary ethnic affiliation of Xia culture is often overlooked and obscured, thus blurring the distinction between Xia culture in the broad and narrow senses. This has resulted in considerable conceptual and epistemological imprecision. Research on Xia culture can be conducted in two main ways: on the one hand, what has been called “metropolitan conjecture” and, on the other, cultural comparison. Departing from the method of cultural comparison and bringing together temporal, spatial, and cultural elements in our analysis allows us to distinguish a primary central area within the “region of Yu” that coincides with Xia culture in the narrow sense, as reflected in later phases of the Wangwan 王灣 and Meishan 煤山 regional subtypes of Longshan culture [Longshan wenhua 龍山文化], from the later phases of the various archaeological remains found within a secondary and tertiary central area, which can be included in the category of Xia culture in a broad sense. Erlitou 二里頭 culture should be regarded principally as part of Xia culture. As such, the Meishan and Wangwan subtypes of Henan Longshan culture, along with the first to the fourth phases of Erlitou culture, can be seen as making up a consistent Xia culture.
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Farmer, A. Corn. "The Myth of A. S.: A Conjectural History or Fable." History of Economics Society Bulletin 9, no. 1 (1987): 85–88. http://dx.doi.org/10.1017/s104277160000404x.
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Once upon a time, economists possessed an Anonyomous Saint, who will be called “A. S.” for short. Like most patron saints, A. S. provided economists with the theme that guides their lives–the idea that the desire for advancement comes to us in the womb and drives us until we are in the tomb. This fundamental conception was elaborated upon in a book entitled, with prophetic anticipation, WoN. That economists have failed to apply the self-interest thesis to the saint himself only serves to illustrate the adage about prophets being without honor in their own country. As a capable administrator, a sound committee man, an astute seeker of patronage and a professor of rhetoric to boot, A.S. was surely aware of all the worldly and literary ways of establishing a reputation. I will try to examine A.S.'s life by using the much neglected method of conjectural history–a form of writing that believes it justifiable to reconstruct history from rational conjectures, in this case the motives of men, when facts are not to be found. A set of mythical footnotes for this fable of mine is available; to obtain these, readers have merely to prove that they are about to sue for libel.
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Uniawati, Uniawati. "MITOS DAN AKTIVITAS MELAUT MASYARAKAT BAJO DI BUTON (Myth and Sailing Activities of Bajo Community in Buton)." METASASTRA: Jurnal Penelitian Sastra 4, no. 1 (March 15, 2016): 90. http://dx.doi.org/10.26610/metasastra.2011.v4i1.90-100.
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Mitos adalah salah satu sarana untuk mengingatkan anggota masyarakat agar tetap mematuhi pranata-pranata yang berlaku dalam suatu kelompok masyarakat. Masyarakat Bajo adalah masyarakat pelaut yang masih meyakini tentang suatu mitos terutama mitos melaut. Menjaga dan menghidupkan mitos-mitos yang berhubungan dengan laut merupakan jalan terbaik bagi masyarakat Bajo untuk menggeneralisasikan kehidupan mereka yang akrab dengan laut. Mitos pengibaratan ikan dan sampan yang kering adalah dua mitos Bajo yang dalam tulisan ini dikaji dengan menggunakan metode deskriptif kualitatif dengan memanfaatkan kritik mitis. Hasil analisis menunjukkan bahwa mitos tersebut merupakan manifestasi tekad dan semangat masyarakat Bajo untuk tetap eksis melaut.Abstract:Myth is a kind of instrument which used to remind the member of community in order to follow some norms there. Bajo community is a sailor community having a strong belief in myth, especially myth in sailing. Preserving and protecting myths related to sailing is the best way for Bajo community to generalize their close relation to the sea. Myth comparing fish to dry trash are two myths that will be discussed by using descriptive qualitative method. The discussion also uses mythical critic. The result of the discussion shows that myths are manifestation of resolve and spirit of Bajo community in sailing.
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Rahmani, Mastane, and Maryam Iraji. "THE STUDY OF THE WORD “LONELINESS” IN THE POEMS OF SOHRAB SEPEHRI IN THE FRAMEWORK OF PSYCHOLINGUISTIC." Malaysian Journal of Languages and Linguistics (MJLL) 6, no. 1 (February 1, 2017): 78–92. http://dx.doi.org/10.24200/mjll.vol6iss1pp78-92.
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Sohrab Sepehriis concidered as one of the geniuses of Persian poetry by creating the artistic and mythical themes. The present study is a descriptive-analyticeone which data has been collected on the basis on “library method” and the word “Loneliness” has been accurately studied in Sohrab Sepehri complete poetical work with the psychological approach to language.In this research, Sohrab Sepehri`s complete poetical worka in the book named “hasht ketab” have been scrulinized according to Leech view (1969).The author seeks to answer these questions: what items has Sohrab Sepehri benefited from to present the element “loneliness”on the basis of psycholinguistics? And which of his books has presented the highest frequency of the element “loneliness”? This research illustrates the fact that Sohrab Sepehri has benefited from “Sense of Words” and due to the fact that he has also been a skillful painter besides being an out standing poet, it is speculated that he has also used the element “color of words”. The results indicate the element of loneliness has been found to be a very significant item in Sohrab Sepehri`s poetical works, but the frequency of presenting this element overweighs in one of his books named “Death of color”.
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Patria, Fedi Bhakti. "INFERIORITAS PEREMPUAN DALAM BAHASA IKLAN BANNER SAFETY RIDING." Jurnal Pena Indonesia 1, no. 1 (October 7, 2016): 1. http://dx.doi.org/10.26740/jpi.v1n1.p1-25.
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Women are still often imaged positively by the authorities in the public sphere. This can be seen from some of the elements contained in the images, including in the text "Dear Sweet Wife / Mother wearing the left lane" on banner safety riding ads. The prominence of the term 'WIFE' and the term 'MOM' instead shows the passive position of women who are only positioned as 'silent' subjects to wait for their partner to return. But in this case, the rules of traffic order become the representation of the symbolic phallus. This study uses a qualitative method which in the study of cultural studies is described by Paul Willis as a model of reflexive methodology, where the emphasis lies in theoretical awareness and interest, to reach the depth of 'reality'. The results emphasize that the image of women remains served as a passive subject and tend to be obedient to all transcendent rules. So, it is not excessive if in the end, this image also represents an inferiority in women. However, it really directs, herds, and encourages its viewers to always bring their own narcissistic desires. The woman in the image has been mythical, and soon she becomes part of the banality in the spaces of society.
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Rowlinson, J. S. "James Joule, William Thomson and the concept of a perfect gas." Notes and Records of the Royal Society 64, no. 1 (October 14, 2009): 43–57. http://dx.doi.org/10.1098/rsnr.2009.0038.
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In the early 1850s Joule and Thomson measured the cooling experienced by a flowing gas on passing an obstacle that caused a decrease in pressure. The mythical ‘perfect gas’, which conforms exactly to Boyle's and Charles's laws, would show no such cooling. They used their results to put the new theory of thermodynamics on a more secure foundation and to establish a practical route for converting the measurement of temperature on a gas scale to an absolute temperature based on the second law of thermodynamics. Their experiments were sound but their calculations were in error. Later in the century William Hampson and Carl von Linde independently devised a simple method of liquefying air based on Joule–Thomson cooling, but whereas Linde understood the theory, Hampson, and many chemists, confused the process with the cooling of a gas doing external work, which is an effect that would occur also with a perfect gas. James Dewar copied Hampson's process, without acknowledgement, in his work on the liquefaction of air and hydrogen at the Royal Institution. He, too, did not at first understand the theoretical basis of the apparatus. In the twentieth century the effect was exploited to investigate intermolecular forces, but it is now rarely used.
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Färber, S., and M. Färber. "Unresolved Grief and Diogenes Syndrome and Misery Senile." European Psychiatry 41, S1 (April 2017): S640. http://dx.doi.org/10.1016/j.eurpsy.2017.01.1056.
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IntroductionMourning the death of a loved one, the loss of social aggregation or familiar, or any trauma may not follow the normal process when has any kind of complication In these cases of the complicated mourning, a person may develop or manifest dissociative behaviors, like diogenes syndrome or the misery senile syndrome.ObjectiveTo investigate the presence of unauthorized mourning, complicated or not elaborate as triggers of diogenes syndrome and misery senile.MethodsTo develop this research we use the systematic literature review, following the process of research, cataloging, careful evaluation and synthesis of the documentation associated with the method of thanatological hermeneutics.ConclusionThanatology is useful tool in scientific and clinical research and care for patients with diogenes syndrome. The need for safety against the distress of fear of the future and loneliness is at the origin of compulsive hoarding. If the mythical diogenes lived in Athens a Spartan life, living in a barrel, as the character Chespirito of Roberto Bolaños (Fig. 1), the carriers of this syndrome follow the opposite path accumulating objects to achieve a sense of stability.ResultsThere is a significant presence of unresolved grief in the history of the psychiatric patient with diogenes syndrome.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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DAĞ, Pınar, Ebru VURAL ARSLAN, and İnan GÜMÜŞ. "In Teaching Turkish As A Foreign Language The Evaluation Of The Mythical Text’s Contributions To Formating Word Network, Context, Syntax, And Creative Writing Within The Framework Of The Eclectic Method." Uludağ Üniversitesi Eğitim Fakültesi Dergisi 31-Özel Sayı (June 3, 2018): 147–78. http://dx.doi.org/10.19171/uefad.430167.
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Noviana, Fajria. "Representasi Hero’s Journey Pada Tokoh Chihiro Dalam Anime Spirited Away Karya Miyazaki Hayao." IZUMI 8, no. 1 (May 31, 2019): 52. http://dx.doi.org/10.14710/izumi.8.1.52-64.
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(Title: Representation of Hero’s Journey on Main Character Chihiro in Hayao Miyazaki’s Spirited Away Anime) This paper is the result of a qualitative descriptive type of literature study. The purpose of this study was to reveal the heroic journey process of main character of Spirited Away anime named Chihiro, based on the Hero’s Journey theory proposed by Vogler. Data about Chihiro's heroic journey are obtained from anime with note taking techniques. The method used in the analysis is the method of content analysis based on the theory of Hero's Journey. From the results of the analysis, it can be seen that the main character Chihiro has undergone a total of the twelve stages of the hero’s journey. Chihiro's adventure has succeeded in changing her personality which was initially timid, spoiled, and whiny to be brave, independent, calm and confident, and full of compassion. Chihiro's heroic journey proves the true definition of a hero according to Vogler, while also proving that to win a fight does not always use physical strength. There are times when thinking intelligence and emotional intelligence are much more needed. In addition, this anime also features a lot of kamisama which was once believed by the Japanese. Miyazaki might want to remind again about the existence of Japanese gods by displaying them in this anime, either those actually found in Japanese mythology or Miyazaki's own creations. Thus, the story of Spirited Away which has a mythical structure as stated by Vogler becomes much more alive and interesting.
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Idham, Idham. "Bahasa Mantra Sasak Tinjuan Makna Asosiatif." SASTRANESIA: Jurnal Program Studi Pendidikan Bahasa dan Sastra Indonesia 7, no. 4 (October 15, 2019): 67. http://dx.doi.org/10.32682/sastranesia.v7i4.1300.
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This study describes and explains in detail the linguistic meaning of the Sasak mantra, the function of the mantra, and the text structure of the Sasak mantra. The meaning of the mantra is also related to the culture that exists in the area that is the location of the research. The method used in this study is a descriptive qualitative method and ethnographic method. wind, jelo, full moon, sea, gumi, sky, and betu are used to produce a strong suggestion. (2) plant symbols, namely angn, apuh, buaq, mako, glemper, shoots, tojang, paoq kayuk, and flower are used to cause the suggestion of attractiveness. (3) animal symbols, namely yellow kecial, jaran guying, kolo, ptuk and propeller. The term 'kecial kuning' is used to give rise to suggestion of attractiveness, the term jaran guyang has the effect of suggesting strength. The term kolo, ptuk, balang has the effect of suggesting damage. (4) mythical symbols, namely the terms bidederi-bidedere, mas bejeboh, mentinggang mentang, crazy singang, betara guru, betara lenjang, and goldfish. Bidederi-bidedere is used to cause the effects of beauty suggestion. Mas Bejeboh authority. Singgang mentune, singang crazy, betara guru is used to cause suggestions of the authorities of the springs. Betara levels are used to cause the suggestion of the ruler of the rain. (5) Islamic religious symbols, namely basmlah, creed, kun fayakun, Prophet Muhammad, alif, Allah, prophet David, prophet Sulaiman, Syaidina Ali, Assalamu, Prophet Allah Adam, Jibrail, Fatimah-Fatimah. The existence of a term in Islamic religious signifies the language of the mantra that the people of Lombok are very religious and believe that chosen beings such as prophets, guardians, angels, prophet's friends can be used as mediators in asking for something.
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Purnama, Yuzar. "MITOLOGI SAEDAH SAENIH: CERITA RAKYAT DARI INDRAMAYU." Patanjala : Jurnal Penelitian Sejarah dan Budaya 8, no. 3 (May 5, 2017): 333. http://dx.doi.org/10.30959/patanjala.v8i3.13.
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Indramayu community still believe with the customs of his ancestors. In some areas, we can found the traditional arts, beliefs, ceremonies, games and story. On this occasion, the writers wanted to examine folklore mythology Saedah Saenih. The existences of Saenih Saedah story is very attached to some people in Indramayu, as if the story is real. The story is famous, and it appeared in the drama, lyrics, and even once made into a movie. The problems outlined in the form of questions, the myth of what is contained in the story Saedah Saenih? How far the myth Saedah Saenih for the community? what moral values that is contain in the story Saedah Saenih? This study aims are to get a complete and clear picture of the mythology in Saedah Saenih folklore. This study used a qualitative approach with descriptive method. The study begins literature, data collection, classification, analysis and reporting. In conclusion, the mythical story Saenih Saedah very attached to the people of Indramayu. The contents are considered real story is characterized by the belief that the existence Saenih still in the river Sewo in white crocodile manifestation. Compliance form of throw money, as it passes through the bridge Sewo to avoid disaster. They also believe Sarkawi transformed into a floating bale, Maemunah be pring ori, and Saedah into a tree on the river bank Sewo.
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Misiri, Laureta. "Myth and Antimyth in the Fictions of Socialist Realism in Albania." European Journal of Language and Literature 2, no. 1 (August 30, 2015): 95. http://dx.doi.org/10.26417/ejls.v2i1.p95-98.
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The process of formation of socialist realism in literary creativity goes hand in hand with the crystallization of social awareness "down", within the psychology of the masses and "up", with the strengthening ideological party institutes of state. Endless discourses among the circles of artists on this plane, so competent is the new artistic unity as "the soc-realistic method" that obtained the status of state doctrine. In 1936 the Soviet government undertook measures to implement the undisputed total soc-realistic method all the arts in the USSR. Socialist realism becomes the dominant term in the science of Soviet literature and art sciences from the thirties to mark "basic approach" which "requires the artist to introduce the concrete historical truth of reality in its revolutionary development", so the literature had to be created with the task of educating the workers in the spirit of socialism. The notion aesthetic "realism" was related to defining "socialist", brought the practice of literature and arts submission to ideology. Demands of using the socialist realism techniques in fact became an obstacle, an anxiety to halt creativity that for years was avoid against the spiritual life of the people, so the writers created in the majority mediokre works of conformist who became propaganda trumpets. In the late ‘80s realism becomes literary and historical term, but in the embryonic stage of many characteristics, the soc-realism literature is determined as "heroic realism", "monumental", "social", "biased" and as if the category of “folk" is the basic principle of a work of art where the mythical watches in the mirror its other part of the medal.
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Putcha, Rumya S. "The Mythical Courtesan." Meridians 20, no. 1 (April 1, 2021): 127–50. http://dx.doi.org/10.1215/15366936-8913140.
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Abstract This article interrogates how and why courtesan identities are simultaneously embraced and disavowed by Brahman dancers. Using a combination of ethnographic and critical feminist methods, which allow the author to toggle between the past and the present, between India and the United States, and between film analysis and the dance studio, the author examines the cultural politics of the romanticized and historical Indian dancer—the mythical courtesan. The author argues that the mythical courtesan was called into existence through film cultures in the early twentieth century to provide a counterpoint against which a modern and national Brahmanical womanhood could be articulated. The author brings together a constellation of events that participated in the construction of Indian womanhood, especially the rise of sound film against the backdrop of growing anticolonial and nationalist sentiments in early twentieth-century South India. The author focuses on films that featured an early twentieth-century dancer-singer-actress, Sundaramma. In following her career through Telugu film and connecting it to broader conversations about Indian womanhood in the 1930s and 1940s, the author traces the contours of an affective triangle between three mutually constituting emotional points: pleasure, shame, and disgust.