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Academic literature on the topic 'Mythological creatures'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Mythological creatures"

1

BLOCK, GEOFFREY. "Gershwin's Buzzard and Other Mythological Creatures." Opera Quarterly 7, no. 2 (1990): 74–82. http://dx.doi.org/10.1093/oq/7.2.74.

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Kelly, Peter. "Compounding Compound Creatures." Mnemosyne 71, no. 4 (June 20, 2018): 667–87. http://dx.doi.org/10.1163/1568525x-12342399.

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AbstractInTristia4.7, Ovid describes a series of mythological hybrid creatures. This paper will argue that this catalogue of hybrids alludes to scientific accounts of the primitive creatures that existed in the early stages in the evolution of living beings, as well as literary depictions of monstrous creatures. In particular it will argue that Ovid alludes to his ownMetamorphoses, Vergil’s catalogue of insubstantial monsters atA. 6.285-289, Lucretius’ account of primitive creatures atDRN5.890-894 (a model for both theMetamorphosesand the Vergilian catalogue), and most significantly Empedocles (fr. 60 DK). It will demonstrate that Ovid ‘remythologises’ this passage from Empedocles through the use of multiple allusions to both scientific and mythological discourse, in such a way as to question a series of distinctions, such as that between science and mythology. It will also discuss whether Ovid’s catalogue of hybrids could aid a reinterpretation of the compound creatures described by Empedocles.

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Gimževskienė, Karolina. "Lithuanian Mythological Creatures Laumės and their Equivalents in Russian and English." Vertimo studijos 12 (December 20, 2019): 6–21. http://dx.doi.org/10.15388/vertstud.2019.1.

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This article aims to find cultural equivalents for the Lithuanian mythological creature laumė in the English and Russian languages. Therefore, a comparative analysis of similar mythological creatures in Lithuanian, Russian and English languages and cultures was carried out. The results of the analysis have shown which names of these creatures might be considered cultural equivalents. Such information is useful not only when choosing a domestication strategy, but for a foreignization strategy as well because these equivalents can be used both in the translation text itself and in additional extratextual comments. The conclusions given at the end of this article may be of practical importance for translators or authors writing about Lithuanian mythology and folklore for English or Russian speaking readers.

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Shemesh, Abraham Ofir. "Unicorns and Flying Dragons in Noah's Ark: The Bible Story according to Medieval and Modern European Works of Art." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 13, no. 24 (May 29, 2019): 193–206. http://dx.doi.org/10.17851/1982-3053.13.24.193-206.

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The current study analyzes several medieval and modern works of art that portray mythological creatures who entered Noah's ark (Genesis 6:5-9) – flying dragon-like and imaginary creatures as well as unicorns. The artists assumedly chose to portray these animals for several reasons: a) in the ancient world the existence of creatures with unusual and exceptional qualities was a commonly held belief; b) mythological animals aroused the imagination of the ancients and sparked their curiosity.

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Shemesh, Abraham Ofir. "Religious Literature, The realistic, and the Fantastic:." Estudos de Religião 33, no. 3 (December 20, 2019): 235. http://dx.doi.org/10.15603/2176-1078/er.v33n3p235-255.

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The current study discusses several ancient Jewish traditions that speak of mythological-fantastic creatures in Noah's ark. The biblical text does not list the types of organisms that entered the ark, rather makes do with noting the groups of animals in general. The Midrashic literature on the story of the ark lists various species of fantastic humans and animals – Og king of Bashan, the giant re'em or the eternally living phoenix. It may be assumed that these creatures were included for several reasons: A. The ancients believed that these were realistic creatures and therefore assumed that they too had entered the ark. B. The mythological animals aroused the imagination of the ancients and they were eager to hear stories about them.

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Kucharz, Eugeniusz Józef. "MEDICAL EPONYMS OF MYTHOLOGICAL ORIGIN." Acta Neophilologica 2, no. XIX (December 1, 2017): 29–42. http://dx.doi.org/10.31648/an.639.

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Eponyms account for a significant part of medical terminology. Their number isestimated to be a few thousands. Almost all of them are anthroponyms and were coinedfrom names of authors describing a disease, symptom, sign, etc. A small portion of medicaleponyms are mythonyms, coined from names of mythological figures or creatures.Mythonyms are classified into anatomical, physiological, pathological, psychiatricand psychological groups. Two mythonyms describe the name of one medical specialty(hygiene and venereology). Mythonyms were coined from late Renaissance to the 19thcentury. Their relationship to a mythological figure is usually complex. Anatomicalmythonyms are referring shapes of mythological creatures. Other mythonyms referto stories or special features of mythological figures. The paper reviews more than30 mythonyms, and describes their medical meaning, mythological origin and possiblerelation between the mythological figure and eponym.

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Скляренко, О. М. "ONOMASTIC ETUDE: COLLECTIVE PROPER NAMES OF MYTHOLOGICAL CREATURES (TYPOLOGICAL ASPECT)." Slovyanskyy Zbirnyk, no. 21 (January 25, 2018): 210–20. http://dx.doi.org/10.18524/2413-0613.2017.21.132197.

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Mukhina, Irina Georgievna. "MENTAL MAPPING OF MYTHOLOGICAL CREATURES NOMINATIONS IN THE ENGLISH LANGUAGE." Philological Sciences. Issues of Theory and Practice, no. 7-2 (July 2018): 361–68. http://dx.doi.org/10.30853/filnauki.2018-7-2.30.

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9

Sleptsov, Yu A. "Mythological Xullyukuns in Beliefs of Yakuts (Sakha) (Expedition Materials)." Nauchnyi dialog, no. 8 (August 24, 2021): 467–77. http://dx.doi.org/10.24224/2227-1295-2021-8-467-477.

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Information about the mysterious supernatural water creature “xullyukun” is summarized in the article. It is emphasized that it takes its place in the pantheon of deities among the Yakuts (Sakha) — one of the indigenous peoples in the North-East of the Russian Federation. It is noted that Russian and foreign travelers, political exiles, and research scientists wrote about the traditions, life and religion of the Yakuts (Sakha) at different times. The descriptions of the beliefs of the Yakuts (Sakha) are given, in which there are references to the water creatures “xullyukuns”. The author has reviewed the literature where the “xullyukuns” are mentioned. The version proposed by scientists is analyzed, that “xullyukun” is a blending of the ancient spirit-master of water and an evil demon, which became possible due to the fact that this image correlated with the idea of the migration of aquatic animals from water to land and back. The author of the article is critical of such judgments. The data collected by the author of the article during numerous expeditions to the north-east of Yakutia, where the old image of the creature of the pre-Christian period has been preserved, is presented. On the basis of research, the author comes to the conclusion that the image of “xullyukun” is incomparable with the devil. It has been proved that “xullyukun”, according to ancient beliefs, is a creature — the arbiter of human destinies, and the new image is associated with Christmas divination, where the influence of Christianity is seen. The author of the article shares the original sources. Information collected in the field during conversations with informants is introduced into scientific circulation.

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Panchenko, Lyudmila Nikolaevna. "MYTHOLOGICAL CREATURES AS REPRESENTATIVES OF THE "ALIEN" WORLD IN MANSI FOLKLORE." Yearbook of Finno-Ugric Studies 13, no. 4 (December 25, 2019): 605–14. http://dx.doi.org/10.35634/2224-9443-2019-13-4-605-614.

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The article discusses some mythological creatures, as representatives of the “alien” world in Mansi folklore, as well as the mythological function of the border in the structuring of space of the Northern ethnic group. The material of the study was the texts of Mansi fairy tales published in various folklore collections, in periodicals, as well as field materials of the author. A hermeneutic method is used in the work, the principles of historicism and a systematic approach are reflected. Analysis of Mansi folklore texts showed that the Mansi people include their family, village, kin, nationality, ethnic group in their own circle. All of them are united by language, appearance, religion. Wrong things were perceived by Mansi as a threat. Accordingly, such objects as “others”, “otherworldly”, “strangers”, “outlanders”, “enemies” relate to the category of “them”. Own things are perceived as something positive, but foreign things on a subconscious level are perceived as negative and cause negative emotions. The presence of the main type of the opposition “us - them” in the mythological picture of the Mansi world is represented by us through the schemes, reflecting different methods of interaction between “us” and “them”. The author expresses her gratitude to all informants who know the Mansi language and traditional culture of the Mansi people, as well as anonymous reviewers.

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Books on the topic "Mythological creatures"

1

Destefano, Merrie. How to draw magical, monstrous & mythological creatures. Irvine, Calif: Walter Foster Pub., 2011.

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Mythological Creatures and the Chinese Zodiac Origami. New York: Dover Publications, 2010.

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Berry, Bob. How to draw magical, monstrous & mythological creatures. Irvine, California: Walter Foster Publishing, 2012.

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4

Montroll, John. Mythological creatures and the Chinese zodiac in origami. New York: Dover Publications, 1996.

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The art of drawing dragons, mythological beasts and fantasy creatures. Irvine, California: Walter Foster Publishing, 2012.

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6

Sphinxes and centaurs. New York: Marshall Cavendish, 2013.

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Dragonart ultimate gallery: More than 70 dragons and other mythological creatures. Cincinnati, Ohio: IMPACT, 2012.

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8

Pearce, Q. Mythological Creatures. Price Stern Sloan, 1991.

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9

Mythological Creatures: A Classical Bestiary. Atheneum, 2008.

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10

Noble, Marty. Invisible Mythological Creatures Magic Picture Book. Dover Publications, 1998.

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Book chapters on the topic "Mythological creatures"

1

Brito, Cristina. "Fantasy, cryptozoology and/or reality: Interconnected stories of mythological creatures and marine mammals." In Intelligence, Creativity and Fantasy, 332–38. CRC Press, 2019. http://dx.doi.org/10.1201/9780429297755-57.

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Adriaensens, Vito. "Of Swords, Sandals, and Statues: The Myth of the Living Statue." In Screening Statues, 137–55. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.003.0008.

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As sculpture is the classical art par excellence, statues abound in films set in Greek or Roman antiquity. Moreover, many of the mythological tropes involving sculptures that have persisted on the silver screen have their origins in classical antiquity: the Ovidian account of a Cypriot sculptor named Pygmalion who falls in love with his ivory creation and sees it bestowed with life by Venus, Hephaistos’s deadly automatons, the petrifying gaze of the Medusa, and divine sculptural manifestation, or agalmatophany, for instance. This chapter investigates the myths of the living statue as they originated in Greek and Roman literary art histories and found their way to the screen. It will do so by tracing the art-historical form and function of classical statuary to the cinematic representation of living statues in a broad conception of antiquity. The cinematic genre in which mythic sculptures thrive is that of the sword-and-sandal or peplum film, where a Greco-Roman or ersatz classical context provides the perfect backdrop for spectacular special effects, muscular heroes, and fantastic mythological creatures.

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Potter, Amanda. "Greek Myth in the Whoniverse." In Ancient Greece on British Television, 168–86. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412599.003.0009.

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Along with 21^st-century spinoffs The Sarah Jane Adventures and Torchwood, the iconic British science fiction series Doctor Who has engaged with Greek mythological characters and storylines across five decades. This chapter explores trends in this engagement. Troy and Atlantis are settings for the time-travelling Doctor inadvertently to set in motion events leading to their fall (‘The Myth Makers’, 1965, ‘Time Monster’, 1972), Medusa and the Minotaur are creatures in a fantasy world (‘The Mind Robber’, 1968) and stories of the Argonauts, the Minotaur and the Trojan War are set in space (‘Underworld’, 1978, ‘The Armageddon Factor’, 1979 and ‘The Horns of Nimon’, 1979-80). More recently, Greek mythological objects are cast as alien: e.g. Philoctetes (‘Greeks Bearing Gifts’, 2006), the Gorgon (‘The Eye of the Gorgon’, 2007), Pandora’s box (‘The Pandorica Opens’, 2010), the Minotaur (‘The God Complex’, 2011), and the Siren (‘The Curse of the Black Spot’, 2011). Evidence for the popularity of Greek mythology amongst contemporary viewers is discussed. By tracing shifting intersections between Greek myth and the ever-developing mythology of Doctor Who, this chapter considers how the long-running series anticipates, plays with and informs audience knowledge of Greek mythology, and spurs them on towards criticism and invention.

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Kiperwasser, Reuven, and Dan D. Y. Shapira. "Irano-Talmudica II: Leviathan, Behemoth and the ‘Domestication’ of Iranian Mythological Creatures in Eschatological Narratives of the Babylonian Talmud." In Shoshannat Yaakov, 203–35. BRILL, 2012. http://dx.doi.org/10.1163/9789004235458_012.

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5

Hays, Gregory. "The Minotaur." In Persons, 46–51. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190634384.003.0003.

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Ancient concepts of the person emerge not only from philosophical works but from literature and myth. Using a contemporary painting by the artist Erika Meriaux, this reflection focuses on the mythological story of the Minotaur, a creature who awkwardly straddles the boundary between human and animal, between person and nonperson. The Minotaur foreshadows modern anxiety about boundary cases: the clever dolphin or mentally challenged child. What obligations are owed to such a being? Meriaux's painting follows in the footsteps of some ancient writers in emphasizing the monster's human characteristics; yet he remains stubbornly bovine. Is it possible to be a person without being human? Meriaux's depiction challenges us to respond but leaves the answer up to us

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