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Journal articles on the topic 'Mythological creatures'
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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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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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BRINK-ROBY, H. "Siren canora: the mermaid and the mythical in late nineteenth-century science." Archives of Natural History 35, no. 1 (April 2008): 1–14. http://dx.doi.org/10.3366/e0260954108000041.
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This paper argues that, for a number of naturalists and lay commentators in the second half of the nineteenth century, evolutionary – especially Darwinian – theory gave new authority to mythical creatures. These writers drew on specific elements of evolutionary theory to assert the existence of mermaids, dragons and other fabulous beasts. But mythological creatures also performed a second, often contrapositive, argumentative function; commentators who rejected evolution regularly did so by dismissing these creatures. Such critics agreed that Darwin's theory legitimized the mythological animal, but they employed this legitimization to undermine the theory itself. The mermaid, in particular, was a focus of attention in this mytho-evolutionary debate, which ranged from the pages of Punch to the lecture halls of the British Association for the Advancement of Science. Crossing social boundaries and taking advantage of a range of venues, this debate arose in response to the indeterminate challenge of evolutionary theory. In its discussions of mermaids and dragons, centaurs and satyrs, this discourse helped define that challenge, construing and constructing the meanings and implications of evolutionary theory in the decades following Darwin's publication.
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Russell, Jesse. "The bear myth in Edmund Spenser’s Faerie Queene." Reinardus / Yearbook of the International Reynard Society 31 (December 31, 2019): 115–34. http://dx.doi.org/10.1075/rein.00028.rus.
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Abstract The animals in Edmund Spenser’s Faerie Queene have been skillfully treated as allegories, but these creatures also deserve a look from a mythological perspective. Perhaps the most important animal to begin with is the bear, which French historian Michel Pastoureau recently has explored in his monumental, The Bear: History of a Fallen King. Using many of Pastoureau’s insights (and criticizing others), we can make room for an analysis of The Faerie Queene as a text in which pre-modern and even ‘prehistorical’ images of bears meet with Early Modern views of the noble creature, demonstrating that, despite Spenser’s allegorical tendencies, the bears in The Faerie Queene still speak.
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Jęcz, Jadwiga. "Mythological Motifs in Kisses by Maria Pawlikowska-Jasnorzewska." Ruch Literacki 58, no. 2 (March 1, 2017): 163–75. http://dx.doi.org/10.1515/ruch-2017-0024.
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Summary Maria Pawlikowska-Jasnorzewska’s interest in the ancient world should come as no surprise. While a fascination with imaginary creatures was part and parcel of the Art Nouveau (Secesja) aesthetic, no less important was her association with the Skamandrites, a group of poets some of whom acknowledged neoclassicism as an important source of inspiration. The article examines the mythological motifs in Pawlikowska-Jasnorzewska’s Pocałunki (Kisses), a volume of poems published in 1926, in particular her reinterpretation of the Narcissus story (in ‘Narcyz’) and a string of mythological images used as a decorative encrustation (e.g. in ‘Syreny’).
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Atkins, Peter Joshua. "Mythology or Zoology." biblical interpretation 24, no. 1 (January 12, 2016): 48–59. http://dx.doi.org/10.1163/15685152-00241p04.
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The challenge of Bible translation is often confounded by the uncertain identity of many of the animals and mythological creatures found in the text. This essay is an attempt to analyse why these creatures have complex, obscure translations and thereby complicate the passages they inhabit. Over time, this problematic translation of the biblical passages has been influenced by a variety of different historical and contextual factors; however, it has also interestingly influenced the readership of the biblical text. By focussing upon a couple of particularly intriguing words, this essay displays the impact that the process of translation has had upon the understanding of the biblical text.
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Gallegos Rivera, Juan Carlos. "Decadencia, deconstrucción y revigorización de la fauna fantástica. Caracterización del monstruo mitológico en la narrativa mexicana reciente." Sincronía XXV, no. 80 (July 3, 2021): 417–47. http://dx.doi.org/10.32870/sincronia.axxv.n80.19b21.
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This article addresses the various ways in which the figure of the mythological monster is constructed in the recent short narrative by three authors: René Avilés Fabila, Cecilia Eudave, Fernando de León. The above is based on the original representation of these creatures in ancient and medieval bestiaries, and focuses, above all, on the core change in their characterization in current texts, which leads to scenarios of decadence, deconstruction or reinvigoration of the imaginary fauna, explained this as a result of the exhaustion of magical thinking before the scientific one.
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Novak, Petra. "Najstnikom ‘predpisana’ slovenska bajčna in mitološka bitja‘Prescribed’ Slovene Mythical and Mythological Creatures for Teenagers." Studia mythologica Slavica 14 (October 17, 2011): 327. http://dx.doi.org/10.3986/sms.v14i0.1617.
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Shkuratok, Iuliia A., and Anastasiia V. Krotova-Garina. "ON THE CLASSIFICATION OF NAMES OF MYTHOLOGICAL CHARACTERS IN THE KOMI-PERMYAK LANGUAGE." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 70–80. http://dx.doi.org/10.17072/2073-6681-2021-2-70-80.
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The article deals with the names of mythological creatures in the Komi-Permyak language. We identified and analyzed almost 300 names of mythological beings gathered from various sources such as field notes, archival materials, articles, and publications. The vocabulary analyzed in the article is not homogenous. We divided it into groups in accordance with the source language; words formed in the Komi-Permyak language were further classified into subgroups according to the motivation. Substantial part of the lexis comes from the Russian language. These borrowed words are used to denominate creatures that have analogues in Russian folklore (домовöй, баннöй бес, водянöй, дошлöй, лешöй, нечистöй, колдун/ковдун, колдуння/ковдуння, суседко/суседку). In some cases, semantic changes are observed, new meanings are acquired. The second group of the lexis is comprised of the names of Komi-Permyak origin with the following meanings: “place of habitat” (ва олiсь ‘dweller of the water’, джоджулiсь ‘dweller of the underground’, баня чуд ‘banya spirit’, кузнеча чуд ‘spirit of a smithy’, öшымöс чуд ‘spirit living in a well’, вöрись ‘spirit of the forest’, вöрись дядь / вöрдядь ‘forest uncle’); “appearance” (кузь дядя ‘tall uncle’, ыджыт дядя ‘big tall uncle’, ыджыт морт ‘big tall man’, чочком морт ‘white man’, кöспель ‘having dry ears’), “time of appearing before others” (луншöрика/вуншöрика ‘midday spirit of fields and meadows’, лун/вун ‘day’, шöр ‘mid’); “action” (ворожитчись ‘diviner’, лечитчись ‘healer’, ‘witch doctor’, шопкись ‘whispering’, тöдiсь ‘knowing’, тшыкöтчись/тшыкöтiсь ‘spoiling’). The third group of words includes non-derivatives or/and names with 'obscure' etymology (абач ‘domestic goblin’, боболь ‘spirit for frightening the children’, калян ‘demon’, куль ‘devil, evil spirit’). The presence of this group is largely due to the de-etymologization process in the modern language. These being the key points, we observe heterogeneity of the names of Komi-Permyak mythological beings, reflecting the history of interactions between Russian and Komi-Permyak people.
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Todorovic, Ivica. "Mythical creatures of the Tamnava region: a basic mythological code in the serbian folk religion." Glasnik Etnografskog instituta, no. 52 (2004): 205–25. http://dx.doi.org/10.2298/gei0452205t.
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Alepidou, Apostolia. "Near Eastern Echoes in Iliad 16.33–35." Yearbook of Ancient Greek Epic Online 4, no. 1 (October 27, 2020): 1–26. http://dx.doi.org/10.1163/24688487-00401001.
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Abstract This article reexamines Patroclus’s famous comment on Achilles’s cruelty in which the sea and the rocks take up the role of the latter’s parents (Iliad 16.33–35). The verses reflect Near Eastern myths about the birth of menacing creatures from the sea and the rocks and are particularly associated with the Song of Hedammu and the Song of Ullikummi of the Hurro-Hittite tradition. Thematic, mythological, and dictional parallels among these texts are discussed in order to explore the existence of a common theme with specific connotations in the broader region of West Asia.
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Mironova, Polina. "The issue of translation of Slavic mythological creatures: names in “The Witcher” cycle by A. Sapkowski." Slavic World: Commonality and Diversity, no. 2019 (2019): 267–70. http://dx.doi.org/10.31168/2619-0869.2019.3.11.
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Rzepnikowska, Iwona. "THE DEAD IN POLISH FOLK PROSE." Folklore: structure, typology, semiotics 3, no. 1 (2020): 128–43. http://dx.doi.org/10.28995/2658-5294-2020-3-1-128-143.
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The paper dwells upon the image of the dead in tales of the two plot types, namely, T 366 “Trup upomina się o swoją własność” (АТU 366 “The Man from the Gallows”) and T 470* “Zmarły urażony” (АТU 470А “The Offended Skull”), formally classified by the author of the Polish folk prose index as fairy tales, but they are in fact in full compliance with basic genre conventions of mythological tales (fabulates). Therefore, the dead in those plot types act not as the fairy-tale but mythological character. Nominations, as well as certain other features, of the “otherworld” characters in those narratives reflect the duality of folk perceptions regarding a person’s lot after their demise. The dead are perceived as scary creatures that pose danger – but the reason for that lies in the humans’ own trespassing against the dead: disturbing their rest. The degree to which the dead are portrayed as demonic, that is, ungracious and vengeful towards the humans, varies and is expressed both in the plot types being compared in general and in specific textual realizations of the same plot.
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MURADYAN, G. "The Reflexion of Foreign Proper Names, Theonyms and Mythological Creatures in the Ancient Armenian Translations from the Greek." Revue des Études Arméniennes 25 (January 1, 1995): 63–76. http://dx.doi.org/10.2143/rea.25.0.2003774.
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Krzyszczuk, Łukasz. "Animalia dubia vel fabulosa jako przyczynek do polemiki antyheretyckiej w Komentarzu do Księgi Izajasza (VI 13, 19 - 14, 1) św. Hieronima." Vox Patrum 68 (December 16, 2018): 409–22. http://dx.doi.org/10.31743/vp.3367.
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The article presents the way of using paradoxographical information regarding the matter of animals with doubtful identification in leading anti-heretical and Anti-Judaist polemic on the example of the sixth book Commentary on Isaiah by Jerome of Stridon. In the allegoric explanation of Is 13:19 - 14:1 Bethlehem monk juxtaposed widely known information about mythological creatures with the well-known story from the Book of Genesis about the conflict of Esau with Jacob. This let him explain why the followers of Judaism and heretics are the allies when it comes to fighting with the Church. Anti-Judaism and anti-heretic polemic was one of the most important topic brought up by alexandrine exegesis that Jerome was influenced by during his whole life.
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Smagina, Eugenia. "The Origin and Characteristics of the Image of the Aerial Spirits." Scrinium 16, no. 1 (October 19, 2020): 292–305. http://dx.doi.org/10.1163/18177565-00160a27.
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Abstract The parallels between the books of the Enoch cycle and the Coptic literature have not yet been fully investigated, and meanwhile they allow us to find out some data on the origin and meaning of the books of Enoch. For example, the Coptic Encomium to the Four Living Creatures from the Pierpont Morgan Library has a section which must be considered as a very close retelling of one episode from the 2nd (Slavonic) Book of Enoch. Subsequently, the image of four animals influenced the description of zoomorphic mythological characters, the so-called “leontocephals”, in the apocryphal literature. In the encomium there are a number of parallels with the 2nd Enoch, which allow to determine more precisely the date and features of this pseudepigraphon.
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Vinogradova, Lyudmila N. "Markers of demonism in the appearance and behavior of mythological characters (Polesye and Carpatho- Ukrainian beliefs about deceased unbaptized children)." Slavic Almanac, no. 1-2 (2020): 365–84. http://dx.doi.org/10.31168/2073-5731.2020.1-2.3.01.
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Representations of deceased unbaptized children as mythologized beings are more or less common in all Slavic traditions, but these characters occupy a different place in different regional mythologies. In some beliefs, they are perceived as relatively harmless souls from among their relatives, who must be considered, remembered in a timely manner, observe certain prohibitions on memorial days, and so on. In others beliefs, they are very dangerous spirits that can provoke various troubles, diseases and natural disasters. In some beliefs, these mythical creatures do not stand out from the total number of “unclean” dead. Accordingly, not everywhere these spirits form an independent class of demonological images in the general ethnic character system, they are not universally designated by specific terms and have a set of stable mythological characteristics. The article examines folk beliefs recorded in Polesye and in the Ukrainian Carpathians about the demonization of the souls of unbaptized children, and also attempts to characterize this category of the dead in terms of their speech behavior, which indicates the character’s acquisition of the status of evil spirits. The active speech behavior of these spirits characteristic of the Carpathian-Ukrainian tradition may indicate a high level of development of their mythological characteristics in the folk demonology of the Carpathian region, which preserves numerous archaic ethnocultural features.
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Odinokaya, Daria. "Philosophical Analysis of the Image of "Artificial Man" in Literary Works of the XIX-XX Centuries." Philosophical anthropology 7, no. 1 (2021): 47–63. http://dx.doi.org/10.21146/2414-3715-2021-7-1-47-63.
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Thanks to the development of modern technologies, there is a feeling that the machine can do anything: write a pseudoscientific article, perform household chores, and remind us of important things. Questions arise: what can't the machine do? What does it mean to be human today? The article examines the versions of how the border between the human and non-human in a person is interpreted in fiction. Such variations of "artificial man" as golem, robot, and artificial intelligence are studied. Created from different materials and animated by different methods, these creatures reflect different ideas about who a person is. We propose two approaches to the idea of creating a "man — artificial man" — mythological and natural science, supported by posthumanist philosophy. The deanthropologizing tendency in literary works anticipates the logic of transhumanism. A person is reduced either to a biological datum (a set of genes, a game of hormones, neural connections), or to intelligence, competing with artificial intelligence and inevitably suffering defeat. The anthropological approach in works of art continues the mythological tradition. Man is thought of as a being endowed with consciousness, which is not reducible to the world. "Artificial man" is a double, an antipode, another, that is, absolutely different, in relation to which a person can establish his own identity.
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Šadauskas, Vilius. "Baltiškųjų mitologinių būtybių sampratos pokyčiai XXI a. Viduklės bendruomenėje / The changes of baltic mythological creatures concept in XXI century Vidukle’s community." Istorija 102, no. 2 (September 6, 2016): 76–104. http://dx.doi.org/10.15823/istorija.2016.06.
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Wicaksana, Abibawa. "QILIN: TOLERANSI KEBERAGAMAN SEBAGAI IDE PENCIPTAAN KARYA KERAMIK SENI." DESKOVI : Art and Design Journal 3, no. 2 (December 3, 2020): 134. http://dx.doi.org/10.51804/deskovi.v3i2.809.
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Indonesia merupakan negara dengan masyarakat yang majemuk yang memiliki berbagai ras, agama, suku, kebudayaan, dan lain sebagainya. Meskipun demikian, hingga hari ini kabar mengenai perilaku intoleran masih sering ditemui. Kejadian-kejadian intoleran tersebut pada umumnya dialami oleh mereka yang memiliki ras, suku, keyakinan, kebudayaan, pola berpikir, pilihan politik, ataupun kondisi fisik yang berbeda. Sebagai respons terhadap permasalahan tersebut, muncul keinginan untuk menciptakan karya yang berkaitan dengan Bapak Pluralisme Indonesia atau Gus Dur. Dikarenakan salah satu hasil perjuangannya melawan intoleransi adalah pengembalian hak etnis Tionghoa, maka karya yang kemudian tercipta adalah karya-karya dengan objek yang berasal dari kebudayaan Tionghoa. Sebagai hasil, tercipta dua karya keramik terakota dengan qilin sebagai objeknya. Pemilihan qilin tersebut tidak hanya dikarenakan ia merupakan makhluk mitologi dari kebudayaan Tionghoa, tetapi juga dikarenakan kaitannya dengan kisah kelahiran Konfusius, nabi agama Konghucu. Supaya konsep toleransi dengan mengangkat penghapusan intoleransi yang dialami etnis Tionghoa di Indonesia tidak hilang, qilin pada karya ini juga dibuat dalam kondisi tidur. Kondisi tersebut dibuat sebagai tanda bahwa si hewan mitologi ini sedang tenang, terbebas dari ancaman larangan yang pernah dialami oleh etnis Tionghoa di Indonesia dari tahun 1967 hingga tahun 2000.Indonesia is a country that has a large variety of races, religions, ethnicities, cultures, etc., within its people. Even though it is a pluralistic country, having something like a different race, ethnicity, belief, culture, mindset, political choice, or even physical conditions can still be an issue. As a response to this problem, I then created two artworks as a reminder about the legacy of Indonesia’s third president who is known for his fight against discrimination, Abdurrahman Wahid. Since one of his most known legacies is the removal of the Chinese ban in Indonesia at year 2000, the model used in the creation of the artworks is from a myth in Chinese traditions. As a result, two qilin terracotta ceramic artworks were created. The qilin was used not only because it’s a Chinese mythological creature, but also because of its relation to the legend of the birth of the Chinese philosopher who’s also known as the prophet of the Confucianism, Confucius. To express the freedom due to the ban removal, the qilins in these artworks were then made sleeping. This position was used to make these mythological creatures look relaxed, or in other words, look like it’s free from the predator that preys on it from year 1967 to year 2000.
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Ivashinina, N. S. "Internal Form of Female Boggart Nominations in Different Regions of Russia." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 162, no. 5 (2020): 144–58. http://dx.doi.org/10.26907/2541-7738.2020.5.144-158.
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Dialect nominations of female boggarts in different regions of Russia were investigated. In the Russian dialect worldview, female boggarts are very important. However, little has been known about them, because boggarts are nowadays commonly associated with mythological creatures of the male gender. As a result of the study, the semantic portrait of a female boggart was made using a specific set of semes revealed by the analysis of the internal forms of lexical units (according to W. von Humboldt, A.A. Potebnya, and N.F. Alefirenko). The internal form of the word is seen as the closest etymological meaning of the word and its denotation. Recordings of Russian dialect speakers were carried out with the help of the continuous sampling method. The following three most interesting lexical-semantic groups of names of female boggarts in terms of motivation were considered: place of living, typical actions and behavior, appearance (color, hair, etc.). Special attention was paid to national gender stereotypification of the studied dialect expressions (A.V. Kirilina, L.V. Markina). A number of examples were provided to demonstrate non-typical national ideas about boggarts with regard to the gender semantics of female boggart nominations.
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Badmaev, Andrew A. "Entomological Images in the Worldview of the Buryats." Archaeology and Ethnography 19, no. 3 (2020): 110–18. http://dx.doi.org/10.25205/1818-7919-2020-19-3-110-118.
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Purpose. The aim of this study is to identify a set of traditional views of the Buryats associated with insects. Results. In the popular zoological classification of the Buryats, the insects were distinguished as a separate class due to their small size. Another sign of this class was the characteristic of insects being nimble. Insects were divided into such groups as “winged insects”, “worms and beetles”, “social insects” and others. Images of insects that live in the sky, water and on earth were not always determined by their habitat. According to the Buryat views, there was a group of chthonic creatures, such as midges, flies, lice, fleas and beetles. At the same time, there existed a popular belief that insects appeared as falling from the sky. By contrast with other classes of animals, insects in Buryats beliefs were not personified in a single spirit as the patron of insects. Images of representatives of the order of Lepidoptera, such as butterflies and moths, are rarely present in the traditional worldview of the Buryats. According to their views, in addition to the presence of wings, the most important feature of many Diptera insects is their ability to produce monotonous sounds while flying – buzz, and this quality is reflected in the Buryat vocabulary. The Buryats believed that certain insects had unique features. For instance, the bee had a feminine essence. It is worth noting that the bee was included into a limited group of animals, together with a swallow and an ant, whose presence in the Buryat dwelling was considered favorable for the life of the family. According to the Buryats’ mythological views, only ants had a hierarchy in their groups. Conclusion. Our analysis has shown that insects were not very important creatures in the Buryats’ beliefs. However, some insects had distinct characteristics. The ant and the bee were considered to be positive, while the gadfly, mosquito, wasp, moth, bug, louse and flea negative. It should also be noted that the chthonic origin of the ant did not determine its final connotation. The Buryats often compared insects to other animal species. The material considered shows that they associated a soul with opposite images of bees and wasps. Some insects were connected with the idea of lycanthropy and the symbolism of fertility, such as the ant and the bee. Unlike other classes of animals, insects were vaguely represented in the myth-ritual practices of the Buryats. Some Buryat views on insects find parallels with the mythological judgments of other peoples, such as the Mongols, Slavic tribes, etc., which is explained by the universal character of the images, typological coincidences and intercultural contacts (primarily with the Mongols).
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Weiss, Sarah. "Rangda and the Goddess Durga in Bali." Fieldwork in Religion 12, no. 1 (September 26, 2017): 50–77. http://dx.doi.org/10.1558/firn.33750.
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This article examines Rangda and her role as a chthonic and mythological figure in Bali, particularly the way in which Rangda’s identity has intertwined with that of the Hindu goddess Durga— slayer of buffalo demons and other creatures that cannot be bested by Shiva or other male Hindu gods. Images and stories about Durga in Bali are significantly different from those found in Hindu contexts in India. Although she retains the strong-willed independence and decision-making capabilities prominently associated with Durga in India, in Bali the goddess Durga is primarily associated with violent and negative attributes as well as looks and behaviours that are more usually associated with Kali in India. The reconstruction of Durga in Bali, in particular the integration of Durga with the figure of the witch Rangda, reflects the local importance of the dynamic relationship between good and bad, positive and negative forces in Bali. I suggest that Balinese representations of Rangda and Durga reveal a flux and transformation between good and evil, not simply one side of a balanced binary opposition. Transformation—here defined as the persistent movement between ritual purity and impurity—is a key element in the localization of the goddess Durga in Bali.
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Weltman, Sharon Aronofsky. "Mythic Language and Gender Subversion: The Case of Ruskin's Athena." Nineteenth-Century Literature 52, no. 3 (December 1, 1997): 350–71. http://dx.doi.org/10.2307/2933999.
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Ruskin's complex attitude toward women has long been important to feminist and Victorian studies; over a quarter-century ago Kate Millett published Sexual Politics and its famous attack on Ruskin's essay "Of Queens' Gardens." She charged Ruskin with promoting a sugar-coated but perfidious system of separate spheres for men and women. Yet shortly after Ruskin produced that idealized vision of housewife-queens in 1865, he created a new ideal queen in his mythological study The Queen of the Air (1869), this time elaborated from Athena. Through his mythopoesis, Ruskin disrupts both conventional gender categories and his own implication in them. Ruskin presents a series of binary oppositions that he immediately conflates: Athena and Medusa, air and earth, bird and snake, formation and destruction, science and myth, male and female. Ruskin documents the instability of his oppositions through a bizarre "natural language" where real-life creatures such as birds and snakes serve as eternal hieroglyphs, signifying universally recognizable abstractions. That seemingly fixed signs in Athena's hieroglyphic code inevitably change is clear from Ruskin's acknowledgment of Darwin's evolutionary theory. But evolution slips into a wild image of degenerative metamorphosis, where all the divisions that Ruskin has so laboriously noted dissolve. Since Ruskin identifies Athena with each seemingly opposed animal signifier in his language of living hieroglyphs, he subverts all linguistic difference and ultimately feminizes signification itself. Through myth Ruskin creates a mutable language, one where genders as well as signs become mobile rather than fixed.
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Lombard, J. "Mitisiteit as basis vir vergelykende literatuurstudie, met verwysing na waterslangsimboliek." Literator 25, no. 1 (July 31, 2004): 91–112. http://dx.doi.org/10.4102/lit.v25i1.247.
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Mythicity as basis for comparative literature, with reference to water snake symbolism Mythicity can be defined as the deliberate intention of probing the numinous dimensions of human existence by means of literature, i.e. mainly narrative forms. In this article the water snake is chosen as prominent archetypal symbol in order to investigate the functioning of mythicity. The water snake is an important symbol in the Southern African context, with its origins in Khoesan ritual and mythology. Recently several stories about water snakes and related mythological creatures have been published in Afrikaans novels and short stories. The water snake has also assimilated influences, inter alia from European, Asian and other African cultures. In this article the potential of mythicity is specifically investigated insofar as it can be utilised as basis for comparative literature. For this purpose the numinous dimensions of a mythic story are treated as equally important as the narrative dimensions. This dialectical balance is therefore used as the main criterion for the comparison of mythic texts. Other related aspects are discussed, namely the importance of the historical context, Jung’s theory of archetypes and the unconscious, and the role of interpretational devices such as metaphor, metonymy, symbolism and allegory. If the balance between numinosity and narrativity is not maintained, the mythic potential of a text is usually reduced. When writers succeed in utilising mythicity as an “open”, dynamic interpretational process, mythic relevance can still be guaranteed within a present-day, postmodern context.
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Martin-Jones, David. "Trolls, Tigers and Transmodern Ecological Encounters: Enrique Dussel and a Cine-ethics for the Anthropocene." Film-Philosophy 20, no. 1 (February 2016): 63–103. http://dx.doi.org/10.3366/film.2016.0005.
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This article explores the usefulness of Latin American philosopher Enrique Dussel's work for film-philosophy, as the field increasingly engages with a world of cinemas. The piece concludes with an analysis of two films with an ecological focus, Trolljegeren/Troll Hunter (2010) and The Hunter (2011). They are indicative of a much broader emerging trend in ecocinema that explores the interaction between humanity and the environment in relation to world history, and which does so by staging encounters between people and those ‘nonhuman’ aspects of the Earth excluded by coloniality/modernity (e.g. animals, animal-spirits, mythological creatures, shaman, the very Earth itself). The interdisciplinary concerns of this work place it at the intersection of the latest research into a world of cinemas (in particular the various moves to understand films beyond the national paradigm now increasingly labelled the ‘transnational turn’; alongside growing concerns with how cinema helps us engage with ecology); and the need to broaden our philosophical grasp of the world. This latter point requires engagement with thinkers from beyond the Eurocentric canon of Western thought that currently dominates philosophy, and equally shapes film-philosophy. Dussel's philosophy is shown to provide a perspective capable of illuminating the intertwined nature of human and planetary history evident in these films, in a manner that is extremely pertinent to our global situation. Thus it is shown to be more useful than approaches to similar groupings of films which draw on, for example, speculative realism, when it comes to providing a cine-ethics appropriate to the Anthropocene.
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Sokolova, T. S., and G. N. Starikova. "POLDEN, POLNOCH IN THE ASPECT OF NOMINATIVE DERIVATION (BASED ON MATERIAL FROM EASTERN SLAVIC LANGUAGES)." Rusin, no. 61 (2020): 203–23. http://dx.doi.org/10.17223/18572685/61/12.
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The article considers the nominative-derivational potential of the words polden and polnoch in the East Slavic languages. The nominative-derivational potential is understood as the ability of lexical units to produce nominative means. The objectives of the study include identifying the composition of the indicated vocabulary and the range of concepts they express for Old Rus and modern times. The analysis has involved about 200 units of nomination and showed that the East Slavic languages significantly developed these word families, with their nominative-derivational capabilities mainly realized in folk speech through rich lexical synonymy. The comparison has revealed a greater power of the word family polden compared to polnoch, as well as a greater formal-semantic variety of its derivatives, which is explained by its numerous meanings due to the special role of daylight in human life. The semantics of the source words determined the nature of the nominative spheres marked with derivative units (“Time”, “Nature”, “Man”), reflecting the accumulated socio-worldview experience of closely related peoples, their close relationship. The structure and meaning of derivatives in different languages have both common and special features. The commonnes is expressed by the unimodel formations and their synonymy (Rus. opolnoch, Ukr. opivnich, Bls. aponachy, Rusin. opivnich, upunochi), specificity – by their formal and meaningful uniqueness: Rus. mezhpolden ‘south side’, odnopoldenok ‘light time of day’, poldenoshnik‘milking bucket’, Ukr. adverbs pivdennishe, pivnichniche, Blr. names of mythological creatures, Rusin. dopoludnyar, ‘shepherdʼ, upidpoludne ʽ in the first half of the day’ and others. Together, they demonstrate the nominative-derivational potential of the names of the light and dark day time climax, which developed, inter alia, under the mutual influence of closely related languages.
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Radenkovic, Ljubinko. "Slav beliefs on changelings." Balcanica, no. 32-33 (2002): 143–54. http://dx.doi.org/10.2298/balc0233143r.
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Beliefs and legends that certain mythological creatures - fairies, witches, the devil, (vile, vestice, djavo, boginka, mamuna, baenik, domovoj, leshi) etc. can take away the child from the mother and exchange it for its own in the image of the abducted child, are widespread with the West and East Slavs, while with the South Slavs they are found only in the northern parts, in Pannonia. Such demonic child is most often called: podmece (with the Serbs), podvrsce (with the Croats), podmenek (with the Slovenians), odmienjec (with the Poles), odminok (with the Ukrainians), obmen (with the Russians), etc. According to the folk beliefs, a changeling differs from the other children by its sluggish growth, voraciousness, and persistent desire to harm or spite other members of the household. Slav legends mention the ways of stealing the human and planting the demonic child (a), recognizing the demonic child (b), and disposing of it and restoring the rightful child (c). In order to prevent the demon from exchanging her child, the mother must observe certain rules of conduct during pregnancy and in the 40 days following the childbirth. Certain measures of magical protection are also undertaken, as: placing sharp iron objects near the nursing woman, then brooms, leaving the candle to burn all night, burning frankincense in her presence, sprinkling her with holy water, etc. The legends on changelings were most probably adopted by the Slavs from the neighboring western peoples (Germans), and included in the already present beliefs that the birth of a child is a gift from the other world, and that the mother must take great care of the gift and be grateful for it. Otherwise, the one bestowing the gift may take it away as well.
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Panchenko, Lyudmila Nikolaevna. "CHARACTER STRUCTURE OF MANSI FOLKLORE: FOREST MAN MISKHUM." Yearbook of Finno-Ugric Studies 15, no. 1 (April 2, 2021): 60–71. http://dx.doi.org/10.35634/2224-9443-2021-15-1-60-71.
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Mansi folklore is the richest material for research in the field of folklore, linguistics, ethnography and other sciences. Comprehension of folklore genres and images opens new boundaries for the study of representations reflected in codes and symbols. The characters of folklore are people, animals, elements, fantastic (mythical) creatures. In this article we will focus on one character - Miskhum. In Mansi folklore, he is presented as a forest man, whose main function is to help forest dwellers, hunters, disadvantaged orphans. Miskhum belongs to a local group of characters living in the forest. Extensive information about him is contained in fairy tales, stories and myths. The aim of the study is to conduct a systematic analysis of the image of Miskhum on the material of folklore texts and folk ideas. The research materials were field material of the author, as well as the texts of Mansi fairy tales published in various folklore collections, in periodicals. This work adds to the scientific knowledge about the Mansi folklore. For the first time, on the basis of folklore, linguistic and literary data, the image of a forest man is subjected to system analysis, and its functionality is revealed. The anthropomorphism of the image, its desire for socialization, distinguishes the folklore image from the mythological. Possession of the ability to metamorphosis, the desire to provide assistance, to bestow people with magical objects and abilities, all these qualities allowed Miskhum to be elevated to the rank of higher beings. In the traditional views of individual local groups, the Mansi Miskhum is exalted to the status of a patron spirit. The complex of prohibitions, ritual actions, the system of amulets existing in the Mansi determine the boundaries and degree of human interaction with Miskhum. The material opens up possible prospects for continuing research into the character and plot structure of Mansi folklore.
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Shchukina, Daria A., and Lyubov Yu Stepanova. "Ways to nominate characters in the tales of P.P. Bazhov." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2021): 70–79. http://dx.doi.org/10.20339/phs.4-21.070.
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This article discusses a question of nomination characters in the tales of P.P. Bazhov. Character’s names in tales are studied from the point of view of etymology, symbolism and mythology. The aim of the research is to analyze the semantics of the character’s names in Bazhov’s tales. The hypothesis of the study is the following statement: symbolic and mythological conceptions about the named character, together with the context and meaning of the lexemes that make up the name, form the semantics of the name of one or another character. The analysis was based on the texts of Bazhov’s tales, included in collection works of the writer in 3 books (“The Mistress of the Copper Mountain”, “The Malachite Box”, “The Stone flowe”, “The Mountain master”, “A Fragile twig”, “Zhelezko’s covers”, “Two lizards”, “Sochen’s gems”, “Grass trap”, “Old mountains gift”, "Ivanko Krylatko", "Ognevushka-Poskakushka", "Blue snake", etc.). The article identifies the features of the onomastic space of P.P. Bazhov's tales. This article considers ways to designate characters in tales, which are studied in the framework of onomastics. In this study, it was used a descriptive method (when generalizing theoretical knowledge on the subject under study), a method of component analysis (in interpretation of the semantics of a character’s name), a comparative method (when comparing characters to identify their common characteristics), and a classification method (in the classification of the names of the characters). Character’s names of Bazhov’s tales were divided on two groups and several subgroups depending on the character's belonging to the world of people or to the world of fantastic creatures. The results of the research can be used to further study the specifics of nomination characters in the tales of P.P. Bazhov.
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Voldina, Tatyana V. "The symbolic significance of bone, stone and metal in the context of traditional views of the Ob Ugrians on reincarnation." Finno-Ugric World 11, no. 1 (August 12, 2019): 32–44. http://dx.doi.org/10.15507/2076-2577.011.2019.01.032-044.
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The article continues the series of materials devoted to the problem of reincarnation in the traditional culture of the Ob Ugrians (“Finno-Ugric World”, “Bulletin of Ugric Studies” (2014–2018). The theme of reincarnation of the human soul is directly related to the question about the vital forces and their carriers. In traditional practices for determination whose “soul” reincarnated, the leading ones were the traditional divination and prediction of dreams, but also the attention was paid to the internal (character, preferences, etc.) and the external likeliness of a children to the reincarnated ancestor. It is not main, but very important parameter, confirming the correctness of the definition of the reborn “soul”. Part of the mythical traditions of the Khanty and Mansi is the so-called “bodily” magic, where special attention is paid to the bones (skeleton) as the basis of the human body. According to the bone structure, people could determine the fate and qualities of a person. Special attention was paid to the spine (or to the back), because the vitality of the human body depended on its strength. The safety and integrity of the skeleton was considered an important condition for subsequent reincarnation. Echoes of ancient beliefs can be found in the mythological texts about the ancestors and customs related to the bear cult. Relationship between the ideas about the bones with the worship of ancestral guardian spirits is universal. At the same time among the Ob Ugrians bones are also associated with stones. It explains sacralization of natural stone objects, in which “heroes of the past” have “turned”; a stone has generative, protective and deadly functions. The identity of bone and stone can be seen in folklore texts about heroes or miraculous arrows (bone and stone), which appear from the miracle stones, and these arrows are used by the heroes to defeat the supernatural creatures. Metal in its sacred functions is close to bone and stone. Metal products also symboliz a magical protection, ancestral spirits and the human soul (needle, knife, arrow tip).
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Paré, Zaven. "Frankenstein’s lectures." Remate de Males 39, no. 1 (June 28, 2019): 482–503. http://dx.doi.org/10.20396/remate.v39i1.8652889.
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Frankenstein’s creature is twice-made; firstly, Frankenstein is an organic being without any real biological parentage, and literary being through his own reading, which makes him aware of his intellectual and emotional affinities with humans. The trap closes around Frankenstein’s creature, imprisoning him in the values he assimilates through reading, which inform him of the full scope of his monstrous identity. Nonetheless, it is important to underline that Mary Shelley never made the creature’s readings insignificant, insubstantial or incomprehensible. On the contrary, they could be said to be ideologically, mythologically and symbolically edifying. Frankenstein is thus first and foremost the story of a monster who reads, and since it takes him a while to acquire language, learn to read and express himself orally, he only gradually begins to understand human nature. Mirroring his patchwork of a body, put together piecemeal, the monster begins to understand the world, an awareness that leaves him prey to the gravest doubts.
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Бондар, Н. Ю. "THE SPECIFIC CHARACTER OF THE ARCHETYPE OF HOME IN THE NOVEL “HOUSE OF DOCTOR DEE” BY P. ACKROYD." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 3, no. 93 (December 2019): 16–28. http://dx.doi.org/10.34142/2312-1076.2019.3.93.02.
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The article deals with the specific character of the archetype of home in the novel “The House of Doctor Dee” by P. Ackroyd. The novel of the English writer tells the story of the fate of the famous alchemist and scientist of the 16th century, Doctor John Dee and modern researcher Matthew Palmer. The purpose of the article is to determine the specific character of the archetype of home in the novel “The House of Doctor Dee” by P. Ackroyd in an individually-authored interpretation. The classical understanding of home is a connection with the family, generation, protection and support, shelter and spiritual comfort. In the second half of the 20th century the archetype of home is significantly problematic. “Home” ceases to be perceived as an exclusively “private” locus, even if it has absorbed all the wealth of the souls of its inhabitants, additional inclusions appear, most often of an existential universal plan. The literature of the postmodern era with its “sensitivity” to the world around it, i.e. with the desire to outline the problems of a wide range (philosophical, historical and others), continues to include “home” in the complex context of life. In this regard, P. Ackroyd’s novel “The House of Doctor Dee”, in which mysticism and reality are intertwined together, is of particular interest. The house of Doctor Dee seems to Matthew full of mystical phenomena and becomes a centre, including different time layers. The house in the novel “The House of Doctor Dee” by P. Ackroyd loses archetypal characteristics at all levels (despite the fact that Matthew is changing his attitude to his adoptive mother), from psychological (strong family ties, attention, understanding) to physical and social (protection, stability). All the fundamental mythological motifs of stability, which usually characterize the archetype of the house – the symbolic constancy of the place, the important role of higher female and male creatures (parents, teachers) as a kind of “good guardians” and mentors, the presence of children as a bastion of eternal renewal – are subjected to internal and external corrosion, destruction, and make the idea of returning home impossible. In addition, the house itself acquires the features of the homunculus, it disintegrates and reborn, but in each century in its own way.
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Andrushchenko, Stepan, and Natalia Gromova. "Windows and Doors as Border Symbols of Home Space." Ethnic History of European Nations, no. 61 (2020): 16–26. http://dx.doi.org/10.17721/2518-1270.2020.61.02.
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The article deals with the ritual significance of some traditional Ukrainian dwellings architectural elements, such as windows and doors. This theme is not completely studied at the scientific literature, because scientists mainly describe the external characteristics of architectural forms and only rarely mention their symbolic meaning. So, this article is based on the analysis of many examples of Ukrainian folklore, first of all lyric and calendar songs, legends and fairytales, as well as the rituals describing, taken by cultural anthropologists and folklorists from the 19th century. During the study the authors find out, that windows and doors in Ukrainian traditional culture were perceived as complex elements, because they were both part of the dwelling complex and had a symbolic meaning and special functions in rituals and folklore. Having lots ot similar features, the ritual meaning of windows and doors at the same time have some differences. Doors, first of all, served as an entrance and an exit, so their basic function was to pass in the house, to let out from it and to provide protection; instead, the window provided a visual connection to the outside world. The general sacred value of the studied objects was their role as a symbolic border between «own» and «alien» space. This provided a connection between the inhabitants of the house and the outside world and protected the interior home space from real and mythological threats from the outside. Windows and doors in traditional culture had to provide the transparency of limits. As a result, the studied architectural elements of the dwelling have been given the status of particularly dangerous points of contact with the outside world. It was signified in the relevant beliefs of our ancestors. People must cross the threshold without stepping on it, it was impossible to sit on it, it was impossible to stand on it during the thunder. As it was mentioned above, windows and doors served as the limit between «own» and «alien» space, therefore they could not only let the souls of the dead in the house on some calendar holidays, but they also protect house from unwanted arrival of different demonological creatures (witches, mermaids, living dead, etc.), for what on windows and doors, above them and under them were put various amulets. Sacralized locuses of home space have become elements of calendar, family, magic rituals that have accompanied a person in traditional society from birth to death.
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Shemuda, Maryna. "THEMES OF AUTHOR’S NEOLOGISMS IN HARRY POTTER SERIES BY J. K. ROWLING." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 831-832 (2021): 308–17. http://dx.doi.org/10.31861/gph2021.831-832.308-317.
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One of the current issues in modern linguistics is the study of authorial neologisms, because language is considered to be a living dynamic system that is constantly evolving, changing, and the language of fiction is a rich source that serves as a basis for studying these changes. Our work is based on the definition proposed by O. O. Selivanova, according to which a neologism is a word or compound used by language in a certain period to denote a new or existing concept or in a new meaning and are perceived as such by native speakers. Neologisms belong to the passive vocabulary of the language, but over time they are assimilated by it and move to common vocabulary, losing their status as neologisms. Thus, the series of novels about Harry Potter is characterized by J. K. Rowling’s terminology, which is innovative and unique, which is a feature of the author's idiosyncrasy. The aim of the article is to reveal the thematic features of the use of author’s neologisms in J. K. Rowling’s novels about Harry Potter. Research methods are: theoretical general scientific methods (generalization, induction and deduction); empirical-theoretical methods (analysis, synthesis, modeling, system method and classification method); method of linguistic observation and description. The analysis showed that the most productive way to create authorial neologisms in J. K. Rowling’s novels about Harry Potter is word formation, because word formation is based on the principle of language economy. The themes of authorial neologisms in J. K. Rowling’s novels about Harry Potter are broad, as they are used to denote everyday realities: magical objects, food and drink, currency, the names of academic disciplines at Hogwarts, holidays and games, and more. Author’s neologisms are also words that denote ethnographic and mythological realities: ethnic and social communities and their representatives; deities, fairy-tale creatures. The author’s neologisms in J. K. Rowling’s novels about Harry Potter also include vocabulary that calls the realities of the world and nature: animals and plants, onomastic realities are anthroponyms: students, teachers, and toponyms: spells. Spells can be divided into two groups: spells in which Latin words are used; spells that use the magician's native language. Prospects for further research can be traced in the lexical-semantic and stylistic analysis of occasionalisms of the writer's works, both in individual works and in the implementation of a comprehensive analysis of the author's neologisms.
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Burnakov, Venariy A. "The Snake and Its Chthonic Essence in Traditional Beliefs, Language and Folklore of the Khakass." Archaeology and Ethnography 20, no. 5 (2021): 142–53. http://dx.doi.org/10.25205/1818-7919-2021-20-5-142-153.
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Purpose. The aim of the study is to characterize the image of the snake as a chthonic creature in Khakass culture. Based on the goal, the following tasks were set: to analyze folklore and ethnographic information of these people and identify the key components of this mythological creature, to discover the semantic connections of its image with natural objects and elements, as well as with the idea of death. The work is based on the analysis of a wide range of sources. For the first time, it introduces field ethnographic and archival folklore materials, as well as author translations from Khakas into Russian of excerpts from heroic legends – alyptyg nymykhtar, proverbs and sayings related to the topic under consideration. Particular attention is paid to the lexical analysis of the myth-ritual complex related to the image of the snake. Results. As a result of the analysis, the following conclusions can be drawn: 1) the image of a snake was widespread in Khakass culture. This reptile was endowed with sacred attributes. In this connection, its image was widely used in language, folklore, and ritual practice; 2) the formation of characteristic features of the mythological image of this reptile was influenced by its biological nature, first of all, the morphology of its body, behavior, lifestyle, way of hunting, and, of course – the environment; 3) with all the variety of symbolic characteristics of this reptile, the key is its perception, as a chthonic creature. It was closely associated with the cult of natural objects, in particular with respect for the land. Its deep connection with the underworld is revealed; 4) in religious and mythological consciousness of the Khakass, this reptile acts as an inhabitant of the world of the dead, and is also a harbinger of death, and often its personification; 5) in mythological consciousness, the projection of its zoological features was expressed mainly in endowing its image with features such as agility, cunningness and greed, which was reflected in phraseological units.
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Syofiadisna, Panji. "MAKNA TIGA IKON GAJAH DI DALAM GEREJA SAINT PIERRE AULNAY PRANCIS." KALPATARU 29, no. 1 (July 16, 2020): 51–64. http://dx.doi.org/10.24832/kpt.v29i1.739.
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Abstract. Saint Pierre Aulnay Church is a Romanic-style church (Romanesque) that was built in the 12th century and is located in the Aquitaine Region, France. In this church, there are three elephant icons in the capital columns section. At the top of the icon, there is also an inscription in Roman that reads "HI SVNT ELEPHANTES" which means "this is an elephant-elephant". This unique sentence and elephant icon is not found in other Romanic-style churches in France. Elephants are not native to Europe, but elephant icons are produced in European (French) churches. During Medieval, some churches were found to have icons of animals or mythological creatures that were placed in several parts of the church. The icons of the animals are connected with the character of Jesus and are called bestiaries. The problem that will be answered in this research is what is the meaning contained in the elephant icon with the words "HI SVNT ELEPHANTES". The review in this study is the history of iconography and emphasizes the themes, concepts, styles, and meanings of icons. The theory used to analyze the problem put forward is the iconography and iconology of Erwin Panofsky. The results of this interpretation will be compared with the meaning of elephants in the archipelago at the same time.
Keywords: Bestiary, Church of Saint Pierre Aulnay, Elephant Icon, Medieval, French, Physiologus, Jesus
Abstrak. Gereja Saint Pierre Aulnay adalah gereja bergaya Romanik (Romanesque) yang dibangun pada abad ke-12 dan terletak di Region Aquitaine, Prancis. Di dalam gereja ini terdapat tiga ikon gajah pada bagian capital columns. Pada bagian atas ikon terdapat pula inskripsi dalam bahasa Romawi yang bertuliskan “HI SVNT ELEPHANTES” yang artinya “ini adalah gajah-gajah”. Uniknya kalimat dan ikon gajah ini tidak ditemukan pada gereja bergaya Romanik lain di Prancis. Gajah bukan hewan asli Eropa namun ikon gajah diproduksi di gereja Eropa (Prancis). Pada masa Medieval memang didapati sejumlah gereja memiliki ikon-ikon hewan atau makhluk mitologi yang ditempatkan pada beberapa bagian gereja. Ikon dari hewan-hewan itu terhubung dengan karakter Yesus dan dinamakan bestiary. Masalah yang akan dijawab pada penelitian ini yaitu apa makna yang terkandung pada ikon gajah dengan tulisan “HI SVNT ELEPHANTES”. Tinjauan dalam penelitian ini bersifat sejarah ikonografi dan ditekankan pada tema, konsep, gaya, serta makna dari ikon. Teori yang dipakai untuk menganalisis masalah yang dikemukakan adalah ikonografi dan ikonologi dari Erwin Panofsky. Hasil dari pemaknaan ini akan dibandingkan dengan makna gajah di nusantara pada masa yang sama.
Kata kunci: Bestiary, Gereja Saint Pierre Aulnay, Ikon Gajah, Medieval, Physiologus, Yesus
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Burnakov, Venariy A. "Pike in the Beliefs and Folklore of the Khakass (Late 19th – Mid 20th Century)." Archaeology and Ethnography 18, no. 7 (2019): 177–86. http://dx.doi.org/10.25205/1818-7919-2019-18-7-177-186.
Full textAbstract:
Purpose. The purpose of the study is to characterize the image of the pike in the worldview and ritual practices of the Khakass. To achieve our goal, we analyzed the folklore and ethnographic information available and identified the key constituent elements of the creature analyzed, as well as discovered the semantic links of its image with natural objects and elements. The chronological framework of the work covers the end of the 19th – middle of the 20th centuries. The pike has never become the focus of ethnographic studies before. Results. We came to the conclusion that the pike played an important role in the spiritual culture of the Khakass. The characteristic features of the pike’s mythological image as a predatory fish were influenced mainly by its biological nature and, first of all, the morphology of its body, its behavior, lifestyle, way of hunting, and, of course, its habitat. In popular mythological consciousness, the projection of its zoological features was expressed through considering the pike as an agile, rapacious and greedy creature, as a rule. At the same time, the pike was also perceived as a wise creature possessing secret knowledge about aquatic depths and their inhabitants. In addition, in many plots the pike acted as a wonderful assistant and helped the protagonist in solving his problems. On the other hand, heroes themselves often turned into this fish in order to achieve their goals related to the other world. In the religious and mythological ideas of the Khakass people, the pike was an incarnation of the spirit of the water host – sug eezi. This deity used to play a key role in the traditional rituals of the Khakass. Conclusion. In sacral practices, the pike performed the function of a tos, a shaman’s spiritual assistant. Its image was present on their ritual paraphernalia – tambourines. Due to this, using a pike as food was strictly prohibited for the Khakass and other peoples of Southern Siberia.
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Malej, Izabella. "Rajskie ptaki Aleksandra Błoka i Wiktora Wasniecowa." Slavica Wratislaviensia 170 (October 1, 2019): 25–40. http://dx.doi.org/10.19195/0137-1150.170.2.
Full textAbstract:
Birds of paradise of Alexander Blok and Viktor VasnetsovHeavenly creatures — Alkonost, Sirin and Gamajun — are mythological hybrids with the body of a bird and the head of a beautiful woman. Their origins come from the old Slavonic and Russian folklore. They are described as mythical beings that hypnotised people through singing. Russian artists, including the painter Viktor Vasnetsov and the poet-symbolist Alexander Blok, also succumbed to their charm. Blok, fascinated by Vasnetsov’s canvases Sirin and Alkonost. The Birds of Joy and Sorrow, 1896; Gamajun, the Prophetic Bird, 1895 created poetic versions of these in 1899. In the case of both artists, there is a reference to the semantics of these magical birds, known from the folklore. Alkonost means happiness and hopes, unlike Sirin, an inhabitant of the underground world. Therefore, alkonosts announce joy, while sirins, treating men with hostility, symbolize sadness, suffering and despair. The third bird connecting Blok and Vasnetsov is Gamajun — a bird, the messenger of the gods, their herald, who sings divine hymns to people and predicts the future of those who know how to listen and are open to mysteries. Special attention must be paid to colorful and linear symbolism, to which both creators refer to, as well as to mythical reminiscences Cosmic Tree. Both the painted and lyrical depictions of birds of paradise are an example of creation of a new, modernist myth, the roots of which go back to the oral culture and whose essence defines the philosophical question of the dualism of the world and man’s place in it.Райские птицы Александра Блока и Виктора ВаснецоваРайские существа — Алконост, Сирин и Гамаюн, являются мифологическим гибри- дом тела птицы и головы красивой девы. Истоки их образов восходят к древнеславянскому и русскому фольклору. Они описаны как мифологические существа, которые своим пением гипнотизируют людей. Их колдовству поддались также русские художники, среди которых были живописец Виктор Васнецов и поэт-символист Александр Блок. Блок, очарованный картинами Васнецова Сирин и Алконост. Песнь радости и печали, 1896; Гамаюн, птица вещая, 1895, создал их поэтические версии в 1899 г. В интерепретации райских суще- ствобоих художников прослеживается отсылка к магическим птицам, представленным в фольклоре. Алконост обозначает счастье и надежду, в противовес Сирин как жительницы подземного мира. Таким образом алконосты — вестники радости, зато сирины, враждебно направленные к человеку, символизируют печаль, страдание и отчаяние. Третья птица, со- единяющая Блока и Васнецова, — это Гамаюн, птица вещая, посланник богов, их герольд, услаждающая людей пением Божественных гимнов и предвещающая будущее для тех, кто умеет слушать и открыт для тайны. Особого внимания заслуживают цветовые и линейные символы, а также мифические реминисценции космическое дерево, к которыми оба творца прибегают. Живописные и лирические изображения райских птиц являются примером создания нового, модернистского мифа, корни которого лежат в устной культуре, зато суть помещается в философском вопросе о дуализм мира и место человека в нем.
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Baulo, A. V., and O. V. Golubkova. "The legend of Tan-varp-ekva." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2 (49) (June 5, 2020): 123–34. http://dx.doi.org/10.20874/2071-0437-2020-49-2-11.
Full textAbstract:
The object of the study is the texts about Tan-varp-ekva, «the tendon twistress», recorded during the 20th c. The majority of the full-text tales has been recorded from the northern Mansi (Lyapin River Basin, Upper Lozva), some folklore stories have been published for various groups of Khanty (Yugan, Middle Ob, Berezovo, Kazym, Upper Purov, Shurishkar); the Nenets legend about the old woman-Sihirtia stands out. The tales mostly split into two plots: the first one is associated with the prohibition to spin veins at night, the second — with changeling and kidnapping of children. The analysis of the key points of the legends has been carried out, the position of the Ob-Ugorsk forest spirit among similar images of the Komi and Russians has been determined. The authors suggest that the village of Lombovozh (Lyapin Mansi) became the place of creation of the folklore storyline, linking it to the presence of a large archaeological site, a medieval settlement. The spread of the legend of Tan-varp-ekva among other Mansi and Khanty groups was the result of migrations. The main plot of the story refers to the introduction of regulations by the Ob Ugrians on inclusion of a daughter-in-law, young women into the foreign cult community. The story with a silver cup explains the rules of entry of a newly manufactured or brought from the outside object into the sphere of worship in the Ob Ugrians. Tan-varp-ekva in the role of a female deity could act as the patro-ness of needlework, as, for the Ob Ugrians, twisting of deer tendon threads was a traditional female work. The stories about Tan-varp-ekva are similar to those of many Russian fairy tales, ballades about mythical spin-stresses, as well as bans on needlework during the night and transition time. Her image has a lot in common with Baba Yaga and with the character of Yoma — her double in Komi (forest spirits, creatures of the lower world, kidnappers of children, cannibals, treasure keepers, treasure givers, «spinning» deities). The motifs of killing and eating of daughter-in-law by the spinstress of tendons can be an allusion of the rite of transition to a new family, when the girl «died» for her former family and left the protection of the spirits-keepers of her family. The popular-Christian layer of views of the Russians and Komi provides material for comparative analysis of mythological con-cepts of Slavic and Finn-Ugric peoples, who for a long period experienced mutual influence on ethnocultural tradi-tions. The function of Tan-varp-ekva as a «twister of tendons» can be secondary, borrowed from neighboring populations, for example, from the Komi, who, together with Orthodoxy, accepted and adapted the popular-Christian beliefs of the Russians.
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ZORIN, ARTEM N. "WESTWORLD: FROM EVOLUTION TO REVOLUTION OF THE WESTERN." Art and Science of Television 16, no. 3 (2020): 61–85. http://dx.doi.org/10.30628/1994-9529-2020-16.3-61-85.
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Westworld television series was created in the second half of the 2010s by Lisa Joy and Jonathan Nolan. It has become an important link in the chain of actualizing the western as a genre in its variations against the background of the current social and cultural content. Initially a remake of the 1973 film of the same name directed by Michael Crichton, the series soon evolved: its second season has become a form of comprehension for both the basis of the western poetics in its relation to science fiction and the burning issues of the 21st century. “The rise of the machines” is interpreted here as a revolt against God, as overcoming the total scenarios of normative poetics and also as a visualization of Donna Haraway’s cyberfeminism ideas. The meta-western part of the Westworld plot unfolds from the 1970s and 1980s to the “revolutionary” aesthetics of the 60s and reveals its ambition to play around with the revisionist scripts of the spaghetti western, especially its most radical part — the zapata western. Trying on their revolutionary logic, the characters and creators of the series try to find their way out of the maze of unsolvable questions about the oncoming future and formulate new ethical dominants for a contemporary viewer. Such a logic supposes existence not in the world of a classical western — with the final triumph of justice, but in the world of a total revisionism of the late 1960s western. It is manifested in the integral poetics of the second season. Androids are creatures with a new worldview and perception of a different world order. They travel through different areas and levels of the historical park, collect key moments of history and stylistic features of a western as the central epic genre of cinema aesthetics. The first two seasons of the Westworld are as much an anthem to the cinema, the main art of the 20th century, as Quentin Tarantino’s westerns created at the same time. They demonstrate that in the world of contemporary values the cinema epic is the starting point of history, the beginning and the source of a person’s epic worldview. As a result, the western appears in the series as a key epic form underlying the mythological mind of a contemporary viewer. The meta-western nature also reflects the direction towards the total westernization of cinema aesthetics and, at the same time, an attempt to understand the reasons which led this approach to the crisis, projected onto the social contradictions of our time. The ironic laws of the spaghetti western, using the elements of Christianization and surrealism in the interpretation of the genre’s canonical schemes, make it possible to expand the range of the tasks set by the authors far beyond the borders of one-nation specifics.
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Kobayashi, Hill Hiroki. "Tele Echo Tube." Leonardo 46, no. 5 (October 2013): 484–85. http://dx.doi.org/10.1162/leon_a_00647.
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Tele Echo Tube (TET) is a speaking tube installation that allows acoustic interaction with a deep mountain echo through the slightly vibrating lampshade-like interface. TET allows users to interact with the mountain echo in real time through an augmented echo sounding experience with the vibration over satellite data network. This novel interactive system can create an imaginable presence of a mythological creature in undeveloped natural locations beyond our cultural and imaginable boundaries.