To see the other types of publications on this topic, follow the link: Mythological images.
Journal articles on the topic 'Mythological images'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Mythological images.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Karakin, Yevgeniy V., and Tatyana V. Pashkova. "Entomological images in Karelian beliefs." Finno-Ugric World 13, no. 2 (2021): 136–42. http://dx.doi.org/10.15507/2076-2577.013.2021.02.136-142.
Full textAbstract:
Introduction. Insects act as an element of the mythological system and rituals, provided by a variety of functions, occupied a certain place in the rituals, beliefs and medical practice of the Karelians. Among domestic insect parasites, the lice are most widely represented in the Karelian language and rituals. The research novelty of the study is determined by the fact that researchers did not turn to the question of the functioning of insects in mythological views and the ritual tradition of Karelians. However, such research is necessary in order to recreate the integrity of the mythological picture of the Karelians, which determines the relevance of this article. Materials and Methods. The material for the study was entomological images in the beliefs and folk medicine of the Karelians. They were considered using comparative historical, comparative and comparative and ethnolinguistic methods. Results and Discussion. The authors dwell on the mythological views of Karelians about domestic parasite insects using the example of lice. These beliefs are reflected in the causes of diseases, methods of treatment, as well as in mythological stories and folklore. Conclusion. The collected and analyzed linguistic and ethnographic data make it possible to come to the conclusion that the lice are the representatives of the entomofauna. Karelians have many beliefs connected with lice, which are reflected in the linguistic picture of the world and traditional culture.
2
Mysyk, Oksana. "THE TROPES OF THE AXIS OF PSEUDO-IDENTITIES IN I. KALYNETS’ POETRY IN THE ASPECT OF OBJECTIVATION OF THE RITUAL-MYTHOLOGICAL ETHNOCULTURAL CODE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 12(80) (2021): 106–8. http://dx.doi.org/10.25264/2519-2558-2021-12(80)-106-108.
Full textAbstract:
The article deals with the study of artistic texts of the poet of the sixties I. Kalynets. In particular, it is concentrated on the study of the models of linguistic objectification of the ritual and mythological ethnocultural code in the poems of the collections «Awakened Muse» and «Slave Muse» have been studied. The formalization of mythological images of pagan gods, demonological beings, characters of calendar holidays and seasonal rites, Christianized mythological figures in subjective and object positions has been described, their ethnosemantics has been established. The trope potential of nominations to denote a song as a symbolic rite in the Ukrainian culture has been clarified. The analysis has shown that in the tropes of the axis of pseudo-identity, which were based on the mythological ethnocode, background knowledge of mythological characters was often the basis for their understanding. It has been found that the meanings included in the intentionality of mythological images were often not expressed explicitly and could not be taken out of context. Thus the mythological ethnocode was implied or presented at the level of a motive. For the most part, the images through which the religious-mythological ethnocode is objectified are monosemantic. In the structure of metaphors, metaphorical epithets, comparisons, etc., mythological images have a clear emotional and expressive color and reflect the peculiarities of the worldview of the ethnos.
3
Rajabova, Ma’rifat. "STYLIZATION OF MYTHOLOGICAL IMAGES IN NAVOI'S WORK." INTERNATIONAL JOURNAL OF ALISHER NAVOI 1, no. 2 (2021): 108–15. http://dx.doi.org/10.26739/2181-1490-2021-2-12.
Full textAbstract:
The work of Hazrat Alisher Navoi was formed on the basis of a spiritual treasure that has passed a rich and long historical path of development. The work of the great poet is connected with the oral tradition of the people on the one hand, and with the Qur'an and Hadith, which are the main sources of Islam, on the other hand. Stylistic folklorisms emerged as a result of the effective influence of folklore genres, motives and images in the works of A. Navoi. In the article A. The originality of the use of angelic and satanic mythonyms used in Navoi's works and the motives put forward by them are analyzed
4
Grun, A. V., and A. N. Zhaxylykova. "MYTHOLOGICAL IMAGES IN PROSE POEMS by I.S. TURGENEV." Vestnik of M. Kozybayev North Kazakhstan University, no. 1 (53) (March 31, 2022): 84–89. http://dx.doi.org/10.54596/2309-6977-2022-1-84-89.
Full textAbstract:
As early as the beginning of the 20th century, linguists noted the growing interest of writers in mythology, which prompted them to study this phenomenon in more detail. Although traces of mythology can be found throughout the history of world literature. After all, mythological motifs contributed to the creation of images, themes and plots known to the whole world. The mythological basis of a literary work is the highest level of intertextuality and the cultural immersion of the reader's imagination into the literary canvas of a work of art. Through the analysis of mythological images, additional authorial meanings and the ideological idea of any writer are revealed. I.S. Turgenev is very stingy in choosing emotionally colored vocabulary, but his vivid images, sometimes developing into symbols, are all the more valuable. "Poems in prose" have not been studied in the literary world from the point of view of mythotectonics, which determines the relevance of the study. The article deals with the images of Hercules, an old woman and a fly, which take their origins from ancient, Slavic and Eastern mythology.
5
Kamalovich, Allambergenov Hamza. "Mythological basis of unusual images in turkish peoples." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 12 (2020): 678–82. http://dx.doi.org/10.5958/2249-7137.2020.01789.9.
Full text
6
Gergokova, Leyla Sozakbayovna. "MYTHOLOGICAL SUBJECTS AND IMAGES IN KARACHAY-BALKARIAN FOLKLORE." BULLETIN of the Kabardian-Balkarian Institute for the Humanities Research 4, no. 2 (2020): 125–30. http://dx.doi.org/10.31007/2306-5826-2020-4-2-47-125-130.
Full text
7
Abdurakhmonov, Ibrokhim Rakhimovich. "The Interpretation Of Images On Dualism, Totemism, Animism And Fetishism." American Journal of Social Science and Education Innovations 03, no. 04 (2021): 75–81. http://dx.doi.org/10.37547/tajssei/volume03issue04-11.
Full text
8
Rehman, Shazia. "INDIAN MYTHOLOGICAL HYBRID FORMS IN CONTEMPORARY INDIAN ARTWORKS." International Journal of Research -GRANTHAALAYAH 4, no. 12 (2016): 155–69. http://dx.doi.org/10.29121/granthaalayah.v4.i12.2016.2405.
Full textAbstract:
In this paper I have highlighted those art works which have hybrid/composite imagery. These images are not only appealing visually but also have strong connections with Indian Mythology. In Indian Myths these are considered as heavenly being and are mentioned in mythological stories in many forms such as aerial or atmospheric mythical animals, terrestrial mythical animal, and aquatic mythical animals etc. I have provided analysis of these types of images which are a part of Indian contemporary paintings with a new interpretation of meaning. I have included variety of these images and distributed them according to their physical appearance. For this paper I have chosen those contemporary Indian artists who have maintained a relation with their philosophy, mythology as well as with present scenario. They have reinvented the meaning of Indian mythology by giving a new appearance of its idioms and metaphors. In contemporary art I have surveyed hybrids or composite images personified into a new expression.
9
Manukovskaya, Tatiana Vasilievna, and Svetlana Nikolaevna Biryukova. "Folklore-Mythological Images and Motives in Nikolai Klyuev’s Poetry." Filologičeskie nauki. Voprosy teorii i praktiki, no. 12 (December 2021): 3661–66. http://dx.doi.org/10.30853/phil20210676.
Full text
10
Шарыпина, Татьяна Александровна. "ИНТЕРТЕКСТУАЛЬНЫЙ И СОЦИОКУЛЬТУРНЫЙ КОНТЕКСТ ДИЛОГИИ ЮРИЯ БРЕЗАНА O КРАБАТЕ". Acta Neophilologica 2, № XX (2019): 61–72. http://dx.doi.org/10.31648/an.3635.
Full textAbstract:

 
 
 This article analyzes intertextual references and the transformation of pan-European mythological motifs and images in J. Brězan’s dilogy novel about Krabat. It is concluded that the era of globalization as well as the German reunification make German writers search for new artistic ways of embodying traditional ontological conflicts in literary texts. This actualizes the usage of postmodern poetics’ principles, and also leads to a synthesis of juxtaposed biblical, historical, fable and mythological motifs and images within one piece of literature, a mode of writing untypical in the past.
 
 
11
Korolkova, E. F. "PROCESSION: ILLUSION AND REALITY IN IRRATIONAL SPACE (to the problem of iconography and composition in ancient art)." Archaeology and Early History of Ukraine 31, no. 2 (2019): 456–60. http://dx.doi.org/10.37445/adiu.2019.02.36.
Full textAbstract:
The article is devoted to the problem of classification of iconographic and compositional types in the monuments of ancient art, in particular, the so-called «processions», which are associated with the artistic design of the objects belonging to the sphere of great semantic meaning. Being located on objects of the category of personal adornments and weapons, on architectural monuments or ritual objects, they are always associated with sacred acts, mythological space and ritual content. Interpretation of these compositions is impossible without a primary classification, which has not yet been developed, and this causes difficulties in research.
 Compositions, which could be concerned as processions could consist of anthropomorphic or zoomorphic images, or comprise both type of images in the same composition. All of them always show some rhythmical characteristics with constant intervals as well as evident direction of movement.
 In some occasions such type of compositions could be taken as an embodiment of the scene of a concrete ritual event, sometimes, perhaps, with costumed as mythological personage figures, but in other case they could be interpreted as a mythological subject with well-known images, which were recognizable for ancient society. In any case reiteration of images and regular intervals in compositions made an impression of slow movement in solemn procession, even with statical figures.
12
Sofronova, I. V., Yu M. Artemyev, and O. G. Vladimirova. "THE POETICS OF MYTHOLOGISM IN N. IJENDEY's POEM “THE VOICE OF THE UNBORN CHILD”." Bulletin of Udmurt University. Series History and Philology 31, no. 5 (2021): 1069–76. http://dx.doi.org/10.35634/2412-9534-2021-31-5-1069-1076.
Full textAbstract:
This article deals with mythological images, motifs, elements used in the works of Chuvash poet Nikolai Ijendey (Petrov). The Chuvash mithology identifies the representatives of good and evil that exist parallel to each other and to the world of people. The main content of the article is to identify characteristics of these images on the example of the poem "The Voice of the Unborn Child". In the course of our work we relied on the scientific works of leading Chuvash mythologists, folklorists and researchers; used a comparative and descriptive methods. In the result of the conducted research the authors come to the conclusion that the poet creates a new version of the myth about the origin of Арçури (Forest Spirit, Leshy), applies in this case people's idea of good and evil principles, the afterlife, spirits of ancestors, a description of the rituals associated with the birth of a child. Mythological images and details allowed the poet to convey the specifics of the vague transitional period in the development of the country's history and people. They deepen the semantic space of a literary text, add tragedy to what is said. The meaning of mythological images used by the poet is typical for other authors of the Chuvash literature.
13
Shulga, Daniil. "Ancient mythological scenes on the artifacts from China." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 2 (2021): 894–910. http://dx.doi.org/10.25205/1995-4328-2021-15-2-894-910.
Full textAbstract:
The topic of Chinese material culture is quite rare in modern classical studies. However, even the analysis of a few artifacts found in the territory of China allows us to enrich significantly our understanding of the occurrence of Hellenic mythological motifs outside their "traditional area" (both geographical and chronological). On the territory of the Greco-Roman Mediterranean, already in the first centuries of our era there is a gradual strengthening of new religious-philosophical doctrines, but on the Great Silk Road we can state a kind of "conservation" of mythological images dating back to the archaic period of Greece (or even to the Mycenaean era). We are not talking about unfounded interpretations, but about artifacts with many details characteristic of the Greco-Romanic world. Such images are little known in Russian-speaking scholarship, therefore it is relevant for the study of Greco-Asian syncretism to make them available for classicsts.
14
MALAKHOV, Valery, Konstantin SIGALOV, and Galina LANOVAYA. "Mythological Consciousness as a Form of Social Consciousness." WISDOM 20, no. 4 (2021): 72–85. http://dx.doi.org/10.24234/wisdom.v20i4.533.
Full textAbstract:
The main purpose of the article is to explain the actual role of mythological consciousness in the mod- ern spiritual life of society, thereby overcoming the generally sceptical, if not negative, attitude towards mythologisation in modern social science. The subject of the article is nature and forms of mythological consciousness. The authors? premise is that rather than being a collection of myths, mythological consciousness is an independent way of spiritual penetration into the world, the transformation of the sensually perceivable and the sign-symbolical reality into an inseparable whole. Mythological consciousness is interpreted as an immanent component of social consciousness. A special role is assigned to the centres of mythological consciousness, in which its nature is encoded. Mythologemes, archetypes and mentality are kinds of a link between social consciousness and social unconsciousness. By revealing the mythological nature of ideas, values, images, symbols, and signs as unavoidable forms through which worldview mindsets and conceptual pillars of modern science are formed, we find ways to unleash their true intellectual and spiritual potential. The final result of the article is the validity of the statement that the ideological structure of modern so- cial thought is its mythological component.
15
Tykhovska, Oksana. "Psychological basis of mythological images of black magician and solomonar." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 20 (2019): 142–49. http://dx.doi.org/10.34079/2226-3055-2019-12-20-142-149.
Full text
16
Khloponina, Olga Olegovna. "Mythological approach as a methodological basis for typologizing female images." Uchenyy Sovet (Academic Council), no. 11 (October 10, 2021): 839–48. http://dx.doi.org/10.33920/nik-02-2111-05.
Full textAbstract:
Russian religious philosophers tried to understand the character and predict the fate of Russia, appealing to divine knowledge, power and saving function of the image of Sophia the Wisdom. In the modern era, the same perception of women and female was interpreted in theoretical works, works of art and life-creation of the bohemian environment of the Silver Age, experiencing eschatological moods and comprehending the fate of Russia and the world as a whole through an appeal, including the one to the ancient myth and the role of the female principle in theory of androgyny. Finally, the construction of the Soviet ideological system was largely based on myth and at all stages included an appeal to female imagery based on archetypal ideas. In the article, the author refers to the concepts of myth and archetype as a methodological basis for classifying female types and defining the symbolic content of female imagery. In addition to the theoretical substantiation of these categories in the mythological direction of cultural studies, the theory of psychoanalysis, we turn to their functional side, which allows identifying and studying the myth in art and culture in its diachronic sense. The author demonstrates that the images of the Mother, the Heroine, and the Fatal Woman, which are clearly indicated in the Russian culture at the turn of the 19th and 20th centuries, can be most clearly identified within the framework of the mythological approach.
17
Ойноткинова, Надежда Романовна. "COLOR IDENTIFICATIONS OF THE ALTAYS MYTHOLOGICAL DISCOURSE." Tomsk Journal of Linguistics and Anthropology, no. 1(31) (June 29, 2021): 47–63. http://dx.doi.org/10.23951/2307-6119-2021-1-47-63.
Full textAbstract:
Аннотация: В статье впервые анализируются цветообозначения в мифологическом дискурсе алтайцев. На материале фольклорных текстов — мифов, легенд, сказаний, шаманских текстов — выявлены характерные для мифов базовые традиционные цветообозначения. Цветообозначения рассматриваются как образные признаки мифологических концептов, в семантике которых лежат древние архетипы, возникшие в языке в результате ассоциативно-метафорического переноса. The paper first considers the specifics of color designations in the Altai mythological discourse. The factual material of the research was published and unpublished folklore texts, in particular, myths, legends, tales, shamanistic campaigns in the Altai language. The color code is important in the conceptualization of the mythological picture of Altaians. The national-cultural specificity of color designations in the mythological discourse is due to their compatibility with concepts-nominations, designating various objects and phenomena of the invisible world. Color designations can be the first component of naming the various names of supernatural beings, deities, spirits, or their clothes. The basic colors revealed in the traditional mythological picture of Altaians — ak “white”, kara “black”, kyzyl “red”, sary “yellow”, kÿreң “brown”, kök “blue” and jazhyl “green” — in the conceptualization of mythological, mythical images, objects of the unreal (invisible) world on the basis of their deepest archetypal signs that arose as a result of associative-metaphorical transfer. In combination with mythological concepts related to the Upper World, white is a sign of divine purity, holiness, blue is a sign of heaven, green is a sign of greenery and lighted sky, red and yellow are a sign of the shining sun. In combination with the mythological images of the Lower World, black as the antipode of white symbolizes darkness, death, red symbolizes blood, hellish hell, yellow means withering, disease, evil, blue means cold, ice, water, green — dim light in darkness. When mythological archetypes were refracted into the system of folk ethics, the transformation of the signs “light — dark” into the signs “good — evil” occurred. In addition to the color code, the zoomorphic code of the Altai culture is used in the conceptualization and structuring of the mythological other world, in the modeling of its geographical landscape and the conceptualization of the world.
18
Hu, Liu. "Snake-like mythological characters of Shandong province (China) in comparision with Serbian ones." Slavic Almanac, no. 1-2 (2021): 329–45. http://dx.doi.org/10.31168/2073-5731.2021.1-2.3.03.
Full textAbstract:
The article is devoted to the snake-like mythological characters, found in the mythology of Chinese Shandong province in comparison with South Slavic word on the example of the Serbian tradition. The article presents an analysis of the names of mythological characters through the two languages on the basis of the ethnic tradition. The images of snake-like mythological characters, etiological legends, local rituals and folk customs in the Shandong province and the Serbian tradition are also considered. This study shows how the mythological perception of reality is reflected in the cultural code and in the language picture of the world. The characters can be divided according to the appearance into zoomorphic and anthropomorphic ones. The names of various snake-like characters, corresponding to the presentational carrier of the ethnic culture in Shandong province and Serbia, show typological and individual differences. In the analysis of cultural vocabulary common linguistic phenomena were found, such as taboo words, euphemisms, etc. In the mythology of Shandong province and Serbia, the images of snake-like characters have similarities and differences, reflecting the human perception and cognitive process. The study uses the methodology of the Moscow ethnolinguistics school, aimed at the reconstruction of spiritual culture.
19
Kuchkarov, Tukhtamurod Olimovich. "MYTHOLOGICAL TOPICS ABOUT GRIPHONS AND THEIR EPIC INTERPRETATIONS IN UZBEK FOLKLORE." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 12 (2021): 56–61. http://dx.doi.org/10.37547/philological-crjps-02-12-12.
Full textAbstract:
Sounds of ancient mythological imagination and archaic picture about the geophones are analyzed in the article which have stored in reflection form in Uzbek folk-lore. It was proved on the basis of comparative analyze of folk-lore, archeological and linguistic materials that the historical-genetic sources of dimorph images are bond up with archaic astrological idols of ancient people in the Central Asia.
20
Bystrov, V. Yu. "THREE IMAGES OF METAPHYSICS." HUMANITIES AND SOCIAL STUDIES IN THE FAR EAST 2, no. 18 (2021): 31–37. http://dx.doi.org/10.31079/1992-2868-2021-18-2-31-37.
Full textAbstract:
The article describes three attitude of modern philosophy to metaphysics. It considers, firstly, the positivism of O. Comte, where metaphysics is perceived as a hybrid form of thinking, combining a scientific form and archaic mythological content, secondly, classical Marxism, in which metaphysics, as a way of thinking, is opposed to dialectics, and thirdly, philosophy of M. Heidegger, for whom metaphysics is the era of “oblivion of being” in the history of Western European thought. All these relations are negative; however, it does not follow from this that the intellectual culture of metaphysics is not in demand by modern philosophy
21
Osipova, E. P. "MYTHOLOGEMES OF THE RYAZAN-MORDOVIAN BORDER." Onomastics of the Volga Region, no. 2 (2020): 263–70. http://dx.doi.org/10.34216/2020-2.onomast.263-270.
Full textAbstract:
The article covers mythologemes recorded in the Shatsk area of the Ryazan region. The dialect material demonstrates different semantic content of mythologemes in Shatsk dialects, which shows reduction of mythological images in rural residents' consciousness: a mythological character itself - a character of disguise - a scarecrow or a bogeyman - a character for scaring children. The ritual function of the characters in modern dialects is mainly lost and preserved only in the older generation's memory.
22
Gojaturk, Narman. "Mythological Plotsasa Self-Organizing Process." International Journal of Life Sciences 9, no. 6 (2015): 91–95. http://dx.doi.org/10.3126/ijls.v9i6.13429.
Full textAbstract:
Elements of mythical thinking, as archaeological types, always become the center of the researchers’ attention. But there are still such problems in this area, so that are of scientific interest. There are issues among them that have a direct appeal to the philosophical thinking. The observation of striking similarities among myths of the world people is of this kind. These are plot similarities. Even the mythical plots of nations located in a remote geography quite far from one another contain elements and images similar to each other. The internal mechanism of mythical subjects’ self-organization resuscitates the folklore and gives life to it at any time. The folklore becomes active only in a person’s life. Particular people renew forms existing for centuries on the improvisation basis. Thus one can get rid of monotony and a tradition gets a new breath in the performance of each person as well. The tradition is kept, but expressed by a new rhythm and breath. And it shows that myths always live and go through centuries in a new improvisation. In Turkish provinces everybody knows the Khizir’s Spirit as a cradle song. It is the symbol of the Holiness from its original date. Khizir- a thousand year old Turk fondles his love by the language of the lullaby and bayaties.He has made a tale of his Memory and set up a great deal of saga for himself. In this case the evaluation of mythological plots always maintains its topicality as one of the important terms.
23
Tanzharikova, A., D. Satemirova, and B. Kelgembayeva. "ARTISTIC FUNCTION OF MYTH IS IN KAZAKH PROSE." BULLETIN Series of Philological Sciences 72, no. 2 (2020): 368–73. http://dx.doi.org/10.51889/2020-2.1728-7804.57.
Full textAbstract:
The use of the myth in modern Kazakh prose in different senses is of interest to the reader. This allows us to determine how the authors' attitudes towards different literary trends are conveyed in the choice of basic myths to reflect the ideas presented in the myth. Using myths, the author enters into a dialogue with several traditions, and secondly, reinterprets a well-known mythological plot, creates his own image, as a result of which the narrative becomes a myth. The protagonist's mythological worldview is characterized by a special perception of time and space. This scientific article analyzes the features of the use of folk myths in Kazakh prose and identifies their artistic function.The prerequisites for renewed interest in myth in Kazakh prose at the end of the 20th century are being clarified. The relationship of mythological traditions and new literary trends in Kazakh prose is considered. The artistic function of myth is determined in the image of real life through mythological models and images.
24
Shukurova Nigina Oripovna and Avezova Nigora Safarovna. "INTERPRETATION OF MYTH AND MYTHOLOGICAL IMAGES IN ENGLISH AND UZBEK LITERATURE." Middle European Scientific Bulletin 6 (November 12, 2020): 54–56. http://dx.doi.org/10.47494/mesb.2020.6.114.
Full textAbstract:
It is well known from the past that during their centuries-long history, the Turkic peoples have managed to create a multi-layered cultural heritage. One of them is the mythology of the Uzbek and English peoples, which is the product of primitive thinking. Mythology is one of the first examples of artistic thinking of our ancestors. It is the immortal memory of nations, the encyclopedia of knowledge, and the inexhaustible spiritual wealth.
25
Kuptsova, Irina A., and Elena A. Buchkina. "Ethnocultural identity in contemporary Udmurt literature: the role of mythological images." Science and School, no. 6 (2020): 31–39. http://dx.doi.org/10.31862/1819-463x-2020-6-31-39.
Full text
26
Jęcz, Jadwiga. "Mythological Motifs in Kisses by Maria Pawlikowska-Jasnorzewska." Ruch Literacki 58, no. 2 (2017): 163–75. http://dx.doi.org/10.1515/ruch-2017-0024.
Full textAbstract:
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’).
27
Rodionov, Vitaliy G. "CREATIVITY OF SPIRIDON MIKHAILOV (YANDUSH) AND THE WORLDVIEW OF THE CHUVASH ETHNOS IN THE MIDDLE OF THE XIX CENTURY." Historical Search 2, no. 4 (2021): 102–12. http://dx.doi.org/10.47026/2712-9454-2021-2-4-102-112.
Full textAbstract:
The worldview of the Chuvash ethnos is a person’s idea of the world formed on the basis of ethnic constants and cultural-value dominants. Being specific to each culture, it created the illusion of objectivity in its bearers. The Chuvash worldview is different in different periods of the ethnos’ life, but thanks to ethnic constants, their structure remains the same at its base. In the Chuvash mythological pantheon of the XVIII century, the main images of the patronizing forces were the God who dwells in heaven and the king who dwells on earth, and the images of the opposing forces were earthly evil spirits and churchmen who moved to the Chuvash villages. In the XIX century, this image changes: a mythological character Pulekhse approached the God, who transformed into the image that has the ability to harm a person, and not bring God-appointed good to him. Such transformations in the mythological pantheon occurred due to a change in the image of the enemy in the socio-cultural space of the Chuvash world. All these processes are well reflected in the scientific works and works of Spiridon Mikhailov (Yandush).
28
Zakhidova, Larisa. "Mythological Subtext as a Specificity of the Writer’s Idiostyle (Based on the Example of Yuri Polyakov’s Novel “The Mushroom Tsar”)." Ideas and Ideals 13, no. 3-2 (2021): 337–47. http://dx.doi.org/10.17212/2075-0862-2021-13.3.2-337-347.
Full textAbstract:
The best works of modern literature often have mythological overtones that allow us to raise the deep layers of human experience. Mythologism of the XX - XXI centuries is a wide, complex and contradictory phenomenon, requiring also serious penetration into the linguistics of the text of the studied work. The analysis of the literary process, from the 19th century to the 21st century, clearly shows that it is traditional to have vocabulary referring the reader to various cultural subtexts, which we call mythopoetic paradigms that have an associative connection with mythological images and are a means of creating mythological subtext, as well as a means of enriching a literary text with additional meanings. Mythopoetic paradigms help in creating the subtext of a work by their ability to evoke certain models, images, whole cultural traditions in the reader’s mind. A.A. Potebnya believes that the doctrine of ‘mythological devices’ of thought should be given a place in the history of literature: if the previous content of our thought is not a subjective means of cognition, but its source, and the image (being recognized as ‘objective’) is completely transferred into meaning, then in this the case the researcher comes across myth-making. Many myths are generated by the external and especially the internal form of the word. The research of Yu. M. Polyakov’s texts convincingly shows a mythopoetic type of thinking of this writer, since mythopoetic paradigms are cross-cutting and cover almost all of the author’s texts. In this regard a novel “The Mushroom Tsar” by Yu. M. Polyakov is especially specific. Yu. M. Polyakov’s works are rich in mythologemes of various types that allows us to talk about his texts within the framework of the neo-mythological tradition, which provides a deep understanding of the writer’s texts and the system of his idiostyle as a whole.
29
Collins, William P. "Sacred Mythology and the Bahá’í Faith." Journal of Baha’i Studies 2, no. 4 (1990): 1–15. http://dx.doi.org/10.31581/jbs-2.4.1(1990).
Full textAbstract:
Myths are metaphors that convey truth about the indescribable through powerful images and experiences. The mythological models synthesized by Joseph Campbell, such as the monomyth with its attendant metaphysical. cosmological, sociological, and psychological purposes, underscore the fundamental unity of human spiritual experience. The Bahá’í Faith employs three significant spiritual verities to fulfil the purposes of myth and to open for all Bahá’í the full depth and range of the world’s mythologies: The unknowable nature of the Ultimate Mystery; the relativity of religious/mythological truth; and the necessity of science and investigation of reality. The Bahá’í Faith also possesses a sacred drama—history as myth—from which the Bahá’í community takes its signposts for individual and collective development. All of these aspects of Bahá’í mythology are the basis for a coherent mythological landscape through which each human being must travel. The mythological universe created by Bahá’u’lláh frees the soul to experience and understand all mythologies, to explore and be awed by the physical universe understood by science and reason, and to undertake the universal adventure through which all may become fully human.
30
Valančiūnas, Deimantas. "Myth in constructing contemporary Indian identity in popular Hindi film: The case of Ashutosh Gowariker." Acta Orientalia Vilnensia 9, no. 2 (2008): 159–74. http://dx.doi.org/10.15388/aov.2008.2.3702.
Full textAbstract:
Vilnius UniversityThe present paper concentrates on particular mytho-religious symbolism and mythological structures used in two popular films by famous contemporary Indian film director Ashutosh Gowariker: Lagaan (2001) and Swades (2004). These films are significant in the history of Indian popular cinema not only for their complex problems related to the sensitive topics of anti-colonialism, nationalism and patriotism, but also for their widely used mytho-religious symbolism. My goal in this essay is to analyse these two films, identifying the mythological symbols and mythological structures used in the films, and to see how they organise the films’ narrative and how they are connected with the issues of anti-colonialism, Hindu nationalism, and the construction of (idealised) Indian identity. In this paper I argue that the usage of mythological and mytho-religious symbolism functions as a useful tool for the director to transfer ideas related to national identity, nationalism, and anti-colonialism to the viewer effectively, as well as to express a political and social critique of contemporary India and to construct the images of idealised Indian identity in response.
31
Prokopova, M. V., G. Ch Faizullina, and E. N. Ermakova. "Image of Giant in Mythology of Ob Ugrians and Zabolotny Tatars." Nauchnyi dialog, no. 9 (September 29, 2021): 217–31. http://dx.doi.org/10.24224/2227-1295-2021-9-217-231.
Full textAbstract:
The results of a comparative analysis of the images of giants in the mythological traditions of geographically close unrelated peoples — the Ob Ugrians (Khanty and Mansi) and the Zabolotny Tatars are presented in the article. It is noted that the assimilation and leveling of the features of the giants images in original cultures did not occur, despite the fact that the myths of the West Siberian peoples were subjected to processes of mutual influence. Particular attention is paid to the relationship between the external features and the origin of mythological characters (giants) with the specifics of the geoclimatic landscapes inhabited by the peoples that form the epic. The novelty of the research is seen in the fact that for the first time the genesis, attributes and functions of the mythological heroes of unrelated peoples living in adjacent territories — the Ob Ugrians and the Zabolotny Tatars — are compared. The relevance of the study is due to the fact that the image of a giant has significant prospects in the reconstruction of an ethnic cultural space, since, being one of the most archaic characters in myths, at the same time it remains a part of modern cultural consciousness. The author’s vision of the common and unique features of giants as distinctive characters of the Ob-Ugric and Siberian Tatar mythological systems is presented in the article. The research materials were myths and legends of the peoples of Western Siberia, records of oral stories of the indigenous inhabitants of the region, collected by the authors during field expeditions.
32
Medvedchuk, O. P. "THE WOMEN'S MYTHOLOGICAL IMAGES IN THE TARAS SHEVCHENKO'S AND YURIJ VYNNYCHUK'S WORKS." Shevchenko Studies, no. 1(24) (2021): 38–45. http://dx.doi.org/10.17721/2410-4094.2021.1(24).38-45.
Full textAbstract:
The article gives a detailed analysis of the mythological women images' transformation in Taras Shevchenko's and Yurij Vynnychuk's works. The peculiarities of using of these images in the poem "Witch", the ballad "Insane woman" by Taras Shevchenko and short stories "Hornlet", "Taste of birch" by Yutij Vynnychuk are examined. It is shown that respectful attitude to women was typical feature of the Ukrainian nation from the remotest times, as a woman plays the most important role in our mental sensation of the world – the role of mother and tradition-keeper. Therefore it is understood that in Ukrainian mythology the images of a witch and a mermaid have not obtain negative connotation, as they have in many other mythologies. The comparative analysis is given, common and different features of the witch and mermaid images in the Taras Shevchenko's and Yurij Vynnychuk's works are determined. The common peculiarity of picturing their heroines as positive and kind women in both authors' creations is defined. Such a position suits the general believes of the Ukrainian nation and represents national and common to mankind values that are reflected in our mythology. Besides, the both authors impart their mythic women with typical for human soul feelings and emotions, such as love, sadness, care, compassion and ability to forgive. The main difference is the fact, that Yurij Vynnychuk combines Ukrainian mythology with European and adds own descriptions in describing the appearance of mermaids and withes, while Taras Shevchenko follows Ukrainian mythological concepts. The reason of this difference is caused by the great lapse of time in almost two centuries between the authors and different peculiarities of style of their works.
33
Zhukovska, Halyna. "REALISM AND MYTHOLOGY IN IVAN NECHUY-LEVYTSKY’S OEUVRE (based on the story “Starosvitski Batiushky ta Matushky”)." Literary Studies, no. 57 (2019): 77–96. http://dx.doi.org/10.17721/2520-6346.3(57).77-96.
Full textAbstract:
The article covers the features of the artistic embodiment of the mythological (biblical and antique) motifs and images in the story-chronicle of Ivan Nechuy Levytsky “Old-World fathers and mothers”, the foundations of mythology in the artistic text, the relations between mythology and realism are investigated. It is noted that Ivan Nechuy-Levytsky as a master of realistic prose in his work truly reproduces the daily life and life of the peasants of the Bohuslav region of the first half of the nineteenth century. Mainly focusing on the artistic modeling of the images of two priests – Khariton Mossakovsky and Mark Balabukh and the descriptions of the lives of their families, the author details internal (desire, thought, dreams, feelings) and the external existence of peasants, who are actively involved in social processes. It is proved that the use of mythological images and motifs in the narrative structure of a realistic story becomes a vivid means of disclosing a character or a life situation. Mythologism ornaments a realistic work, fills with vivid colors, deepens the emotional and narrative background, enriches the text.
34
Onuora, Chijioke Noel, Nkem Fortyunes Alu, Samuel Ogba Echem, Stephen Ezeh Ezike, and Jovita Charles Ogu. "ILLUSTRATIONS IN TOTEMISM AND MYTHOLOGY AS PANACEA FOR ENHANCING CULTURAL STUDIES AMONG IGBO SECONDARY SCHOOL STUDENTS IN NIGERIA." Advances in Social Sciences Research Journal 7, no. 7 (2020): 238–60. http://dx.doi.org/10.14738/assrj.77.8543.
Full textAbstract:
Totemism is the philosophy in which animals and inanimate objects called totems are accepted as harmless co-habitants of man. Myths are folkloric tales of origins and existence, which are as doubtful as they are credible. In assessing Totemic and Mythological Imagery for cultural studies, the study specifically sought to; (i) measure the extent to which Igbo cultural images can hold students’ attention during cultural studies, and (ii) explore Igbo totemic and mythological themes for traditional synthesis in art. The research was experimental and descriptive survey. The 4-week long vacation experiment comprised 40 Junior Secondary School students of ages 12-14 (treatment, n=20; control, n=20) randomised from 60. The subject foci were; (i) Cultural Studies; Igbo, Social Studies and Agriculture, and (ii) Art; Fine art, Poetry and Drama. Three study instruments were used; (i) Igbo Totemic and Mythological Illustrations Scoring Chart (ITMI-SC), (ii) Igbo Totemic and Mythological Illustrations Mean Rating Table (ITMI-MRT), and (iii) Igbo Totemic and Mythological Illustrations Post-test Impact Assessment Mean Rating Table (ITMIPIA-MRT). The post-test course tagged; Igbo Totemic and Mythological Illustrations Post-test Impact Assessment Test (ITMI-PIAT) involved the treatment and control groups in a free-topic choice of artistic contents. Findings showed that the treatment group progressed in cultural studies with artistic illustrations and subsequently explored Igbo mythological contents freely in art. During the ITMI-PIAT post test, the treatment group excelled beyond the control group members who were significantly atelic. It is recommended that teachers adopt artistic pedagogies for ethnographical studies while injecting traditional contents in art learning processes.
35
Zhang, Yuwei. "Symbolic motifs in the novel Clock by A. M. Remizov." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 221–31. http://dx.doi.org/10.37816/2073-9567-2021-62-221-231.
Full textAbstract:
The paper is to analyze symbolic motifs in A. Remizov’s novel Clock (1908), which is considered as a neo-mythological text. Myth-poetic, mythological, semiotic and hermeneutical methods enable to understand the novel’s neo-mythological structure, to explore symbolic motifs such as the images of time, dream, unconsciousness and nature, which create together a special mythological space, expressing the writer’s compassionate concern for people and their miserable life. The paper aims to identify these symbolic motifs and examine their structure-forming role in connection with the writer’s world view position. The time shown on the clock is symbolic. It restricts and deceives people, whose depressed position is reflected in the motifs of dreams and unconsciousness. Their semantic meanings demonstrate a lack of fraternal love in people and imply their doomed fortune. Based on comparing the description of natural phenomena in the beginning and the ending sections of the novel, the author concludes that human can find a way out of the tragic situation with the help of faith in goodness. Depicting people’s suffering, Remizov shows the destructive power of the evil and expresses his idea of creating a new world at the cost of destroying the present one.
36
Kudinova, Maria A. "Images of Dogs in Chinese Rock Art." Oriental Studies 19, no. 10 (2020): 23–34. http://dx.doi.org/10.25205/1818-7919-2020-19-10-23-34.
Full textAbstract:
The paper analyzes images of dogs in rock art of China. According to the semantics of compositions the following groups can be distinguished: hunting dogs, herding dogs, guard dogs, using of dogs in rituals, mythological and folklore motifs and other images. According to the distribution of different thematic groups of images, two big areas – northern and south-western – can be seen. In northern regions of China (Xinjiang Uyghur Autonomous Region, Inner Mongolia Autonomous Region, Ningxia Hui Autonomous Region, Gansu Province) the scenes of practical use of dogs (hunting, grazing, guarding herds and dwellings) prevail, which can be explained by the characteristics of the economic structure of the nomadic peoples who inhabited these territories. The images of a horseman followed by a dog and a bird of prey seen in Xinjiang and Inner Mongolia can be interpreted as depictions of some motifs of heroic epos of Central Asian nomadic peoples. Other compositions in northern regions have been found to depict not only “realistic”, but “mytho-ritual” interpretations as well. In south-western regions (Guangxi Zhuang Autonomous Region, Yunnan Province, Sichuan Province) the images of dogs in ritual and/or a mythological context are more common. It is likely connected with the less practical importance of dogs in the agricultural economy and the higher status of this animal in the spiritual culture of the peoples of Southern China. Rock paintings in Cangyuan County, Yunnan Province, is an exception that combines the images belonging to both traditions, namely a picture of a hunting dog and a dog as a sacrificial animal. Some images cannot yet be deciphered unequivocally.
37
Sandu, Olga M. "THE MYTHOPOETICS OF 1980s VISIONARY ARCHITECTURE." Architecton: Proceedings of Higher Education, no. 3(71) (September 29, 2020): 6. http://dx.doi.org/10.47055/1990-4126-2020-3(71)-6.
Full textAbstract:
The term “visionary architecture” (“paper architecture” in Russian) is used to characterize conceptual projects that cannot be implemented for a number of reasons. Although unrealized, the visionary architecture of the 1980s is a real treasury of ideas for modern architectural practice. The distinctive feature of visionary architecture projects is thematic diversity and abundance of “eternal archetypes” and metaphors rooted in mythological images of ancient art. As in mythological programs, the visionary architects of the 1980s created a virtual space – a model of the world preceding the creation of objects of the material world. Being inside this model, the viewer does not just see the imaginary world but becomes part of it. In their projects, the visionary architects reproduce the mythological image of the World Mountain using architectural metaphors: a tower house, a crystal (glass) tower, the Tower of Babel, the World Axis, a skyscraper. A study of this visionary architecture from the perspective of mythopoetics reveals its semantic value.
38
Maulenov, A. A., and N. K. Matbek. "Neomythology in works of art." Keruen 74, no. 1 (2022): 160–69. http://dx.doi.org/10.53871/2078-8134.2022.1-12.
Full textAbstract:
The article draws attention to the role of mythology in the literature of the twentieth century, particularly in postmodernism. It is asserted that the use of myth allows you to achieve various artistic goals: create images, convey relationships. It is noted that the mythological symbolism fits well into the process of formation of intertextuality as the main feature of postmodernism. The main statements are illustrated through the work of Ch. Aitmatov on the example of the novel “When the mountains are served” (“The Eternal Bride”). The writer uses mythological plot, which is transformed and acquires a new sound and meaning, corresponding to modern reality. In the modern world, the synthesis of mythology and realism has become an integral part of culture. These changes gave impetus to the search for new signs and symbols in the literary process. Myth, parable, legend have an active formative influence on modern prose, contribute to the appearance of images-symbols, images-metaphors, images-allegories. The myth, crystallized for centuries and even millennia of its existence in the minds of different peoples, people of different eras, gives the most vivid examples of life situations, eternal emotions – such as love, loyalty, hatred, betrayal, selflessness. Ch. Aitmatov’s mastery in this work consists primarily in the fact that the actual biblical events are pushed into the background here, as it were, and the author's main attention is focused on the study of the psychosocial state of the planet. The theme of Zoroastrianism is introduced through myths: the people believe that this is the only way to return the “Eternal Bride”. In the image of Ch. Aitmatov, myths change their structure. They become closer to modern life, synthesizing samples of the mythical creativity of the Kyrgyz people with the actual problems of our time, the writer creates a truly philosophical and psychological novel embodying the sacred covenant of the ancestors about love and protection of nature. Thus, the commonality between the symbolic image of Zhaabars and Arsen seems obvious, the writer turns to the origins of national cultures, to mythopoetic models of artistic thinking, deeply reveals the spiritual world of his heroes. In his works, Ch.Aitmatov through folk mythology was able to reveal the multifaceted symbolism of the meaning of human existence, preserved in the mythological consciousness of the people. It is no coincidence that the myth - making of Ch. Aitmatov became not only a school for Turkic writers, but also a moral reference point in the development of the mythological tradition. It is discussed the features of postmodernism at the final part of the article, its difference from other directions. The use of mythologems, their creative processing is evidence of the originality of the mythological thinking of modern writers.
39
Kozhemiakina, Oksana. "ARCHETYPAL BASIS OF POLITICAL MYTH: LITERARY TRADITION AND MODERNITY." Doxa, no. 2(36) (March 25, 2022): 67–82. http://dx.doi.org/10.18524/2410-2601.2021.2(36).246781.
Full textAbstract:
The article examined the features of the archetypal foundations of the political myth, defined the functions of the myth, outlined the ways of its transmission and conceptualization in modern society, ñonsidering the manipulative effects of hidden ideological influence. Based on the analysis of the works of C. G. Jung, J. Durand, M. Eliade, R. Barthes, E. Cassirer, N. Frye and others the content components and features of the political myth are specified. The author of the article emphasizes the narrative and temporal essence of the political myth. It sets the symbolic constructs of self-determination of the community in political time and space, and also forms an idea of the glorious past, the actual (usually crisis) present and the desired idealized future. Accordingly, the political myth is viewed as a dynamic form of the narrative organization of political space and time, setting meaningful meanings and guidelines for the development of a community, also providing a connection between generations. The types of political myth are, first of all, heroic myths (represented by actual archetypal images) and genealogical myths (about the origins of the community, which usually legitimize the connection with the territory and the right to independent statehood). The evolutionary, typological and myth-making approaches to the analysis of the relationship between myth and literature are analysed. It has been proven that modern political myth conceptualizes reality through narratives and discourses, and literature is one of the most important translators of mythological information. It is noted that by filling mythological plots with socio-political content, history itself is mythologized, reconstructing historical memory. Moreover, literary heroes remain in the collective consciousness «living» witnesses of the epochs.The deep motives of narrative mythological oppositions and Trinitarian structures, actualized in modern images, are revealed. Archetypes are understood as energy sources for the formation of the subject content of a political myth, which is structured around a number of binary oppositions (Good – Evil, Life – Death, We (ours) – They (others)), and the cyclical nature of trinitarian structures of procedural implementation (origin – disappearance – preservation (revival)). The transformations of traditional mythological plots and archetypal images in the modern political branding are investigated.
40
KHRABAN, Tetyana. "ARCHETYPICAL ASPECTS OF HERO IMAGE IN MODERN UKRAINIAN NON-INSTITUTIONAL MILITARY DISCOURSE." Social Communications: Theory and Practice 12, no. 1 (2021): 83–97. http://dx.doi.org/10.51423/2524-0471-2020-12-1-2.
Full textAbstract:
The aim of the article is to study the specifics of the archetypal aspects of the Hero image in modern Ukrainian non-institutional military discourse. Materials & methods. Discourse analysis was used to identify the characteristics of archetypal images and motifs. The application of psychoanalytic interpretation, the most characteristic feature of which is the accentuation of senses and the assumption of the self-sufficiency of experience, has directed attention to the symbolism of the unconscious, universal meanings and psychological mechanisms inherent in the text. The material for the article was text fragments, photos and comments to them with a total volume of 912 units, which were posted during 2020 on the pages of the social network groups Facebook "Military service - Military Service", "Armed Forces of Ukraine". Results & discussions. Hero-rescuer mythological archetype is at the heart of the Ukrainian non-institutional military discourse. Permanent mythological plot can be traced in the military discourse. Thus, the typical stages of the mythological Hero odyssey were observed: the beginning of the mythological Hero’s adventures is provoked by a catastrophe, which is caused by criminal actions of his enemies; the Hero sets off for a journey to restore the broken harmony; the villains prevent but the Hero passes the trials and wins his reward. His triumph can be represented as the liberation of his country from tyrant. Addressing the mythological plot carries a pragmatic purpose to overcome stress: the military needs unshakable faith in happy end of the problem situation (military conflict in eastern Ukraine) and the idea of mythological Hero helps soldiers to increase self-confidence. Thus, the Ukrainian non-institutional military discourse shows a relationship between the call to the mythological consciousness and coping strategies. Then, there is tendency observed in the military discourse that Hero archetypal image deviates from the archaic archetype framework and the Hero model with an emphasis on the Christian eschatological paradigm dominates. The motif of sacrifice accompanying the Hero image forms the archetypal image of the Hero-holy man. Conclusion. Two Hero models dominate in the Ukrainian non-institutional military discourse. The first model is distinguished by exaggeration. It is a Hero-superman image defined by similarity to mythological heroes, gods, titans. However, this Hero model is not only always accepted by the Ukrainian military but can sometimes arise rejection and protest against Hero-superman image. The second model is a collective image of Ukrainian culture. The People’s Hero model actualizes the features of a toiler who is not a professional soldier, he is a peaceful man. This archetypal image is distinguished by realism and contrast to the Hero-superman image. Key words: Hero archetype, archetypal image, non-institutional military discourse.
41
Toporova, Tatyana. "On the mythological songs of the “Elder Edda” as a system." Scandinavian Philology 19, no. 1 (2021): 71–84. http://dx.doi.org/10.21638/11701/spbu21.2021.105.
Full textAbstract:
This article is a systemic linguistic and stylistic analysis of the corpus of mythological songs of the “Elder Edda” in a wide cultural and historical context: folklore, ritual, literary. This approach made it possible to propose an interpretation of the mythological songs of the “Elder Edda” as a system and take a fresh look at their semantics, composition, structure, style and lexical organization. The most relevant results of the study of the linguistic and stylistic features of the Eddic songs of the mythological cycle can be considered the definition of linguo-stylistic features of various genre structures in their composition, the explanation of their coexistence, the identification of their source and the building of a hierarchy of mythological songs of the “Elder Edda” depending on the degree of representation in them of various genres. For the first time, the study of the mechanism of cultural dynamics makes it possible to use genres, plot, structure, images, motives of the Eddic text in the reconstruction of the mythopoetic model of the world. The author singles out the most representative genres (tula, cosmological and epistemological song, vision, memory, conspiracy, competition in wisdom, travel, afterlife poetry) and markers (the time of creation, the substance that served as material for the creation of the universe, subjects and objects of creation), allowing to evaluate their productivity and give a comparative description. On the basis of a detailed linguostylistic analysis of the mythological cycle of the “Elder Edda”, a different degree of closeness between mythological songs is established and their plot-genre classification is proposed. The author’s scientific hypothesis consists in the assumption of the deduction of linguostylistic methods of the Eddic cycle from the mythological situation of primordial creation, the dominance of the sacred sphere, which determines the strategy of the characters’ behavior and the results of their activities, anthropocentric orientation, which is expressed in the description of cosmogenesis in genealogical terms.
42
Seferova, Esma Enverovna. "Genesis and functions of the motifs of initiation in the Crimean Tatar epic tale." Филология: научные исследования, no. 2 (February 2020): 50–57. http://dx.doi.org/10.7256/2454-0749.2020.2.32062.
Full textAbstract:
The subject of this research became the examination of genesis and functions of the motif of initiation within the Crimean Tatar magic tale. The ritual of initiation is an important social institute of pre-class society, which serves as the foundation of folk tradition for the peoples of the world. The archaic forms of this motif are associated with the mythological rituals-initiations. The motif of initiation in a magic tale often become the core of the plot and compositional structure. Special attention deserves the concept of the scholar Kerim Camanaqlı, who underlined the role of mythological images in development of the storyline of Crimean Tatar tales, as well as primeval roots of these images. The methodology and theoretical framework of the study is the compilations of Crimean Tatar tales of the early XX century “Tales and Legends of Crimean Tatars” (1936) and “Tales for Children” (1939), dictionaries, scientific writings of the prominent folklorists and literary historians. The novelty consists in revelation of the fact that Crimean Tatar magic tales, containing various compositional elements in their structure, include the pair “dying – rebirth”. The indicated elements of the composition of a magic tale emerged and formed under the influence of mythological rituals. By the specific attributes, the ritual of initiation in the tales can carry different functions and forms. Poetic transformation of the motif of initiation defines the peculiarities of magic tales. The main conclusion consists in the ethnographic ritualistic archaic, which vividly manifests in the Crimean Tatar magic tale, inherent with the formation of fundamentals of the tale, its initial structure, situations, images, system of poetic language and artistic means. Mythical character somewhat alienates from previous mythologicity and comes closer to a fairy image, being included into a fairy civilization.
43
Shapinskaya, Ekaterina Nikolaevna. "The digital age as a challenge of history." Uchenyy Sovet (Academic Council), no. 9 (August 28, 2020): 23–28. http://dx.doi.org/10.33920/nik-02-2009-02.
Full textAbstract:
The article examines the "historical turn" in modern culture and its connection with digital technologies. There is a link between (post)historical representations and mythological and fantasy images. Special attention is paid to the analysis of the entertainment element in the development and presentation of historical images in the digital age. The content of the article is of interest from the point of view of its scientific and methodological specifics in the fields of "Cultural Studies" and "Advertising and Public Relations".
44
Bakhtiyarova, Elena Z., and Roman A. Yuriev. "Mythological Images of Fate as a Source for Categories of Philosophy and Science." Vestnik Tomskogo gosudarstvennogo universiteta. Filosofiya, sotsiologiya, politologiya, no. 51 (October 1, 2019): 25–34. http://dx.doi.org/10.17223/1998863x/51/3.
Full text
45
Majidovna, Nurullaeva Sarvinoz, and Uraeva Darmon Saidakhmedovna. "Expression of the realities and people of the war period through mythological images." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 8 (2020): 462. http://dx.doi.org/10.5958/2249-7137.2020.00934.9.
Full text
46
Gorelik, Adrián. "Images for a Mythological Foundation. Notes on Horacio Coppola's Photographs of Buenos Aires." Journal of Latin American Cultural Studies 24, no. 2 (2015): 109–21. http://dx.doi.org/10.1080/13569325.2015.1040746.
Full text
47
Kaxxarova Shaxlo Shaydulloyevna and Baxronova Zulfiya Ravshanovna. "Positive and negative features of mythological images in the epics “Beowulf” and “Alpomish”." International Journal on Integrated Education 3, no. 11 (2020): 196–200. http://dx.doi.org/10.31149/ijie.v3i11.887.
Full textAbstract:
At the time of what is considered primitive today, our ancestors were a hundred times more poets than we are. Thousands of years ago, the way of thinking of our ancestors was in the form of “poetic observation”: they accepted their life and everything in nature as a symbol of their imaginary concepts. At that time it was understood that the sky, water, greenery, sun, moon, light and darkness had a soul; the day was replaced by night, and the struggle between good and evil was thought to be over.
48
Khamroevna, Tursunova Nasiba. "Mythopoetic Image In Uzbek Folklore And Cinematography." American Journal of Social Science and Education Innovations 02, no. 11 (2020): 187–92. http://dx.doi.org/10.37547/tajssei/volume02issue11-34.
Full textAbstract:
It is known that the use of traditions of folklore in stylistic and transformational methods in various forms and manifestations of dramatic art has given rise to new types of folklore. Consequently, in recent years, mythological archetypes and images have been widely used not only in various genres of written literature, but also in cinematography. The question of the relationship between folklore and the art of cinema has long attracted the attention of researchers. In this article, I will discuss mythopoetic image in Uzbek folklore and cinematography.
49
Ямаева, Елизавета Еркиновна. "POISONOUS YELLOW SEA AND RAVEN: COMPARATIVE STUDY OF MYTHOLOGIES OF THE ANCIENT SCANDINAVIANS AND THE TURKS OF SAYANO-ALTAI." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 4(113) (December 30, 2021): 113–21. http://dx.doi.org/10.37972/chgpu.2021.113.4.014.
Full textAbstract:
В фольклористике имеют место такие универсальные локусы и персонажи, как мировое дерево, гора, потоп, Многоголовый Змей, Циклоп, Дракон и т. д. К ним восходят истоки образов и героев раннего мифологического эпоса. Актуальность исследования ранних этапов развития эпоса заключается не только в выявлении типовых мотивов, но и расшифровке и интерпретации предметного мира, персонажей архаического периода, которые к настоящему времени потеряли значимость. В богатейшем арсенале алтайского героического эпоса имеются мотивы, включающие ядовитое море, скалу, ворона, жертвоприношение ворону, глаз оленя. Аналогичные мотивы обнаруживаются в эпосе тувинцев и дербетов Западной Монголии, а также в якутском олонхо. На основе материалов современной традиционной и культовой практики эти архаические образы трудно интерпретировать. Изучение текстов позволило предположить, что расшифровку этих образов, возможно, следует искать в славянской и скандинавской мифологиях. Исследование показало, что сходство образов ядовитого моря, разведчика ворона в мифологиях северных народов и тюрков Саяно-Алтая свидетельствует о палеоазиатских мифологических архетипах. Очевидно, что таким образом древнейшие архетипы, которые составили предметный мир мифологического этапа алтайского эпоса, со временем утратили семантический подтекст. Расшифровка мифологического подтекста эпических текстов тюрков Саяно-Алтая может иметь практическое применение в плане культурных контактов. There are such universal events and characters in folklore as the world tree, the mountain, the flood, Multi-headed Serpent, Cyclop, Dragon, etc. The origins of the images and heroes of the early mythological epic lead to them. The study relevance of the early stages of epos development lies not only in identifying typical motifs, but also in decoding and interpreting the subject world, the characters of the archaic period, which have now lost their significance. There are some moments in the richest arsenal of the Altai heroic epos including the poisonous sea, the rock, the raven, the sacrifice to the raven, the deer’s eye. Similar motifs are found in the epos of the Tuvans and Derbets (tribes of Western Mongolia), as well as in the Yakutian tribe Olonkho. Based on the materials of modern traditional and cult practice, these archaic images are difficult to interpret. The study of these texts contributed to the idea that in order to decode those images we should search through the Slavic and Scandinavian mythology. The research showed that the poisonous sea and the raven scout images are similar in the mythology of the northern peoples and the Turks of the Sayano-Altai proves the existence of Paleoasiatic mythological archetypes. It is obvious that in this way the most ancient archetypes, which made up the subject world of the Altai epos mythological stage, eventually lost their semantic subtext. The study showed that the decoding of mythological subtext of Sayano-Altai Turks epos texts may have practical use in terms of cultural contacts.
50
Ermolaeva, Nina L. "From the ancient Greek myth to the Russian literary archetypes in I.A. Goncharov’s novels." Literature at School, no. 5, 2020 (2020): 35–50. http://dx.doi.org/10.31862/0130-3414-2020-5-35-50.
Full textAbstract:
The article deals with the mythological sub-text as one of the connective means in the novel trilogy by Goncharov. The author of the article assumes that the creative thinking of Goncharov’s is epic and his understanding of world literary types can be seen as the basis for the theory of literary archetypes. The novelty of the approach to the sources is justified by the aim of the article, the latter being to show the reflection of the evolution of the author’s mythological thinking in his creating the literary archetypes by using various mythological and folk sources. Analysis of the mythological sub-text in the novel “A Common Story” allows to say that the author applied mainly the European tradition of the ancient myths, namely the myth of Oedipus to the modern life in Russia. Viewing “Frigate ‘Pallada’ ” the author of the article concludes that Goncharov returned from the world-wide journey “more Russian” than he had been before. Thus in the novels “Oblomov” and “The Precipice” he used not only the European cultural tradition but also the Slavonic mythology and Russian folklore. The result of his turning to the fairy-tale and Russian literature was the appearance of the archetype images of Oblomov and oblomovism and that of gown in his creative work. “The bylina sub-text” in the novel “The Precipice” helps to understand the rivalry of the atheist Mark Volokhov with the proponent of “the old truth” Tushin as the fight of the Russian epic hero with the serpent. The analysis of Goncharov’s articles of 1870s allows one to see his wish to create the archetype images of the characters from the Russian life. Arguing with A.I. Zhuravleva’s opinion that Goncharov did not manage to fulfill this task in “The Precipice”, the author of the article proves that the image of grandmother has come into the national consciousness as an archetype. It has direct connection with the archetype of the village that came into being in the Russian literature of XIX–XX centuries.