Academic literature on the topic 'Mythology, Persian'
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Journal articles on the topic "Mythology, Persian"
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Ghalekhani, Golnar, and Mahdi Khaksar. "A Thematic and Etymological Glossary of Aquatic and Bird Genera Names in Iranian Bundahišm." International Letters of Social and Humanistic Sciences 62 (October 2015): 39–52. http://dx.doi.org/10.18052/www.scipress.com/ilshs.62.39.
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The purpose of this study is to present a thematic and etymological glossary of aquatic and bird genera names which have been mentioned in Iranian Bundahišn. In this research, after arranging animal names in Persian alphabetic order in their respective genus, first the transliteration and transcription of animal names in middle Persian language are provided. Afterwards, the part of Bundahišn that contains the actual animal names and the relevant translations are mentioned. The etymology of every animal name is described by considering the morphemic source. Finally, mention is made of the mythology connected to the animal and the animal category in Iranian Bundahišn (if available), and the way in which the words have changed from Old Persian up to now. Changes in the name of every animal from the ancient languages such as Indo-European, Sanskrit, Old Persian and Avestan to middle languages such as Pahlavi, Sogdian, Khotanese, and Chorasmian and how the name appears in new Iranian languages and dialects such as Behdini (Gabri), Kurdi, Baluchi and Yaghnobi are also referred to.
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Silverman, Jason M. "Achaemenid Creation and Second Isaiah." Journal of Persianate Studies 10, no. 1 (June 1, 2017): 26–48. http://dx.doi.org/10.1163/18747167-12341305.
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For many years, scholars have entertained the idea that monotheism appeared in Second Isaiah as a result of Zoroastrian influence. Since the issue of monotheism is inappropriate for either the Persian or the Judaean contexts, this paper argues that a more fruitful angle to pursue the Persian context of Isaiah is through analysis of the concept of creation. This paper takes the Achaemenid creation prologues in the Old Persian inscriptions as a comparator for the use of creation in Second Isaiah, and places these two in a broader ancient Near Eastern context of creation mythology. It is argued that both share distinctive features in the way creation is presented and understood. Given the novel and similar concepts visible in both corpora, it is argued that the vision of creation and form of yhwh as creator are the earliest attested instance of “Iranian influence” on the Judaean tradition.
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Fakhri, Kamran Pashaei, Rogayeh Mahmudivand Bakhtiari, and Parvaneh Adelzadeh. "Sanctity and Malevolence of Cat in World Mythology and Persian Prose and Verse." Nigerian Chapter of Arabian Journal of Business and Management Review 1, no. 7 (June 2013): 11–21. http://dx.doi.org/10.12816/0003658.
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Yadav, Roshan. "Assessment of the Role of Environmental factors and Associated Plants for the Mass Cultivation of Santalum album L in Nepal and India." Biomedical Research and Clinical Reviews 3, no. 1 (January 5, 2021): 01–15. http://dx.doi.org/10.31579/2692-9406/016.
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Sandalwood (White Sandal) is the fragrant heartwood of some species of genus Santalum. The widely distributed and economically important Santalum genus belongs to the family Santalaceae which includes 30 genera with about 400 species, many of which being completely or partially parasitic (John, 1947). The word Sandal has been derived from Chandana (Sanskrit), Chandan (Persian), Savtador (Greek) and Santal (French). There are references of Sandalwood in Indian mythology, folklore and ancient scripts. ‘Chandana’ the Sanskrit name ascribed to Santalum album L. was known and used in India from the earliest historic times and is frequently mentioned in the ancient Sanskrit writings, some of which dated before Christian era. Kautilya’s Arthashastra (320 B.C.) considered Sandal as one of the important forest products to increase royal revenue.
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Warren, Vincent. "Yearning for the Spiritual Ideal: The Influence of India on Western Dance 1626–2003." Dance Research Journal 38, no. 1-2 (2006): 97–114. http://dx.doi.org/10.1017/s0149767700007403.
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Europeans have imagined India as a land of fabulous riches and exotic legends since the time of ancient Greece. In Greek mythology Dionysus, the god of passion and wine, was said to have come from India, and Alexander the Great's proudest achievement was arriving at the banks of the Indus. When, after 1498, explorers from Portugal, Holland, England, Denmark, and France began to establish trade links with the subcontinent, it seemed the legends were true; rare spices, silks, gold, and precious stones were transported to Europe and added fuel to already inflamed imaginations. The very name of the city of Golconda became a synonym for unimaginable wealth. There was confusion between all things exotic or “oriental.” Turks, Africans, Persians, American “Indians,” and Caribbeans were all from the same imaginary region, “the Indies,” which existed more in the poetic fantasies of Europeans than on a geographical map.As early as 1626 at the court of Louis XIII, king of France, the mysterious figure of Asia appeared in the Grand Bal de la Douairière de Billebahaut, a ballet danced by the king and his noble companions. In 1635 The Temple of Love, a court masque (as le ballet du cour was known in England), was presented at Whitehall Palace in London. In this spectacle, Persian youths voyaged to India to encounter Indamora, Queen of Narasinga, danced by Queen Henrietta Maria herself in a costume designed by Inigo Jones. Back in France, a Sanjac Indien represented the continent of Asia in another court ballet, Les Entretiens de la Fontaine de Vaucluse (1649).
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Loveimi, Soheila. "Fateful Women in Ferdowsi Shahnameh." English Language Teaching 9, no. 5 (April 5, 2016): 46. http://dx.doi.org/10.5539/elt.v9n5p46.
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<p>Shahnameh as one of the most important literary works that reflects the pure thoughts of the past Iranians, plays a key role in preserving the Iranian cultural heritage and national identity. Mythology helps us to understand the civilizations included the cultures. For example, the image of the women in the literary works is different from their modern popular image that ignores the real position of the women. Abu l-Qasim Ferdowsi, the highly revered Persian poet, is one of the literary figures who considered the role of women in his literary masterpiece in spite of the prevailing attitudes towards the women in his era. Some studies, due to the lack of understanding the Ferdowsi’s poems, have claimed that he is a misogynist poet. However, Ferdowsi has equally ranked men and women in his long epic. For example, there are a number of chaste and compassionate mothers in Shahnameh, who play a vital role in shaping the epic character of the heroes. Or, the women who fall in love and relinquish all her possessions for the sake of fruition, such as Manijeh and Katayun who leave the king’s court for the sake of love. Ferdowsi’s imagery of women is not a descriptive account of their charming superficial beauties, but it reflects the wisdom, bravery, and belligerency of these women.</p>
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Sharifi, Hamid. "Norms governing the localization of video games." Journal of Internationalization and Localization 3, no. 1 (August 11, 2016): 61–73. http://dx.doi.org/10.1075/jial.3.1.04sha.
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Garshasp: Temple of the Dragon (2012) is a 3D, 3rd person action-adventure hack ‘n’ slash indie game developed by Dead Mage for English gamers and Fanafzar Sharif for local use. It was one of the early Persian forerunners to be majorly localized and distributed throughout the English community. It takes a mythology that westerners are probably not familiar with and presents it in a third person action setting that most audiences can understand (MetaCritic 2012). This and more is what Garshasp offers from its home country demonstrated through its lovely art design, pompous music, and a great narrator (GameSpot 2012). The present research investigates the norms governing the ‘language’ of Garshasp: Temple of the Dragon; a prequel to its 2011 Garshasp: The Monster Slayer. Toury (1978/2000) proposed various categories of norms among which ‘initial norms’ is our concern. These norms represents the side translators subject themselves to; source (adequacy) or target (acceptability). In other words, the initial norm refers to “the translator’s (conscious or unconscious) choice as to the main objective of his translation, the objective which governs all decisions made during the translation process” (van Leuven- Zwart 1989, 154). Van Leuven-Zwart (1989) also contents that, as is the case with most other norms, the initial norm is not directly observable, but may be inferred by identifying the shifts contained in target text. Using Toury’s categorization (1978/2000) and a modified Vinay and Darbelnet’s model (1958/1995), we found that the language of the video game under study tends to be more acceptable than adequate.
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Porshnev, Valerij P. "Landscape gardening art of the Hellenistic states of Asia Minor." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 112–20. http://dx.doi.org/10.30725/2619-0303-2021-1-112-120.
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The article continues a cycle of publications of the author on Hellenustic landscape gardening art. The cultural region, which already in the most ancient times was a contact zone between the Greek world and the East is considered. The historical heritage of the Phrygian and Lydian kingdoms and the Persian Empire, which bequeathed to governors the Hellenistic era sacred groves, hunting reserves paradises and terrace parks with regular planning is traced. Special attention is devoted to parks of the Pontic kingdom of time of Mithridates VI Eupator’s government and parks of Pergamon. The country residence of Mithridates VI in Kabeira is interesting as a sample of the landscape park, the first in the history of the European landscape gardening art, at which there are motives characteristic for parks of time of Romanticism. Besides, parks in Kabeira and in Pergamon had unique collections poisonous and the herbs gathered by Mithridates VI and Attalus III. According to the author of article, these collections, besides utilitarian appointment, being raw materials for preparation of poisons and drugs, had aesthetic value, enriching park landscapes, and their natural qualities were intricately connected with mythology and religion of Greeks. Base of a research are the landscapes of the Black Sea coast of Turkey, the rich archaeological material saving up in one and a half centuries of excavations in Pergamon, and written sources, compositions of antique authors, among which are the works of poet and scientist 2nd century BC Nicander of Colophon not yet translated to Russian.
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Konstantakos, Ioannis M. "The Flying King: the novelistic Alexander (Pseudo-Callisthenes 2.41) and the traditions of the Ancient Orient." Classica - Revista Brasileira de Estudos Clássicos 33, no. 1 (May 31, 2020): 105–38. http://dx.doi.org/10.24277/classica.v33i1.898.
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The story of Alexander’s flight is preserved in early Byzantine versions of the Alexander Romance (codex L, recensions λ and γ) but is already mentioned by Rabbi Jonah of Tiberias (4th century AD) in the Jerusalem Talmud. The narrative must have been created between the late Hellenistic period and the early Imperial age. Although there are differences in details, the main storyline is common in all versions. Alexander fabricates a basket or large bag, which hangs from a yoke and is lifted into the air by birds of prey; Alexander guides the birds upwards by baiting them with a piece of meat fixed on a long spear. The same story-pattern is found in oriental tales about the Iranian king Kai Kāūs and the Babylonian Nimrod. Kai Kāūs’ adventure was included in the Zoroastrian Avesta and must have been current in the Iranian mythical tradition during the first millennium BCE. It is then transmitted by Medieval Islamic authors (Ṭabarī, Bal‘amī, Firdausī, Tha‘ālibī, Dīnawarī), who ultimately depend on Sasanian historical compilations, in which the early mythology of Iran had been collected. The story of Kai Kāūs’ ascension is earlier than Pseudo-Callisthenes’ narrative and contains a clear indication of morphological priority: in some versions the Persian king flies while seated on his throne, which reflects a very ancient and widespread image of royal iconography in Iran and Assyria. Probably Alexander’s aerial journey was derived from an old oriental tradition of tales about flying kings, to which the stories of Kai Kāūs and Nimrod also belonged. The throne had to be eliminated from Alexander’s story, because the episode was set during Alexander’s wanderings at the extremities of the world. The Macedonian king had therefore to fabricate his flying vehicle from readily available materials. Later, after the diffusion of Pseudo-Callisthenes’ romance in the Orient, the tale of Alexander’s ascension might have exercised secondary influence on some versions of the stories of Kai Kāūs and Nimrod, regarding specific details such as the use of the bait.
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Ghiasizarch, Abolghasem. "Critic of Literary Myth of Philippe Sellier and Pierre Brunel: Another Vision." IRIS, no. 36 (June 30, 2015): 225–45. http://dx.doi.org/10.35562/iris.1681.
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Cet article critique la conception du mythe littéraire chez Philippe Sellier et Pierre Brunel, pour lesquels les mythes littéraires sont issus des mythes ethno-religieux et n’ont pas leur source dans la littérature. Cette définition apparaît comme ethnocentrée et n’est pas applicable universellement. La Perse présente trois périodes mythologiques : l’ère pré-sassanide, l’ère post-sassanide persane et l’ère post-sassanide shi’ite. La mythologie shi’ite est une mythologie littéraire. Elle possède à la fois des caractéristiques du mythe littéraire et des caractéristiques du mythe ethno-religieux. Il s’agit donc d’une mythologie qui est née de la littérature, avec auteur et datation, mais en même temps elle fonde une vérité et instaure la civilisation shi’ite. La mythologie shi’ite ne peut s’inscrire dans la définition de Brunel-Sellier, et il faut donc définir le mythe littéraire d’une autre manière. Cette nouvelle définition doit prend sa source dans la littérature, et être capable de comprendre tous les mythes littéraires du monde. Ce que le mythe littéraire de Brunel-Sellier ne parvient pas à faire.
Dissertations / Theses on the topic "Mythology, Persian"
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Clausen, Jenelle. "Asset Protection." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429269560.
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Tola, Florencia Carmen. "“All men were born in Jerusalem”. Mith and gospel in the stories about the origen of humans among the toba (Qom) of the Argentinian Chaco." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/80560.
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En las narraciones actuales de los toba (qom) del Chaco argentino es frecuente encontrar paralelismos entre relatos de inspiración bíblica y los mitos que narran los orígenes de los seres humanos, sus transformaciones corporales y las diferencias entre diversos tipos de seres. Ciertos acontecimientos descritos en la Biblia suelen ser hilados con elementos del pasado mítico qom generando una lectura bíblica del pasado indígena y nuevas lecturas sobre los orígenes humanos, las diferencias entre los seres y el rol del cuerpo en la constitución de la especificidad humana. En este trabajo, nos proponemos analizar algunas de dichas narraciones en las que los mitos y las historias bíblicas son entrelazados dando lugar a actualizaciones de la noción de cuerpo-persona y devenir.Parallelisms between stories of biblical inspiration and myths that describe the origins of the human beings, their corporal transformations and the differences between diverse types of beings can be found in contemporary narrations of the Toba people (Qom) of the Argentinean Gran Chaco. Events described in the Bible are usually spun with elements of the mythical past of Toba people, therefore generating a biblical reading of the indigenous past and new readings on the human origins, of the differences between beings and of the importance of the body in the constitution of human specificity. This paper examines some of these narrations where myths and Biblical stories are interlaced giving rise to new notions of body and person.
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Rezaee-Tafrechy, Tayyebeh. "L'eau : les réalités (les qanât), les mythes et les rites (la déesse Anahita) : de l'Iran préislamique à certaines coutumes et traditions conservées dans l'Iran contemporain." Thesis, Limoges, 2015. http://www.theses.fr/2015LIMO0094.
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Cette thèse porte sur les influences de la condition géographique du plateau iranien sur la création du mythe d’Anāhitā et les croyances concernant l’eau chez les iraniens et nous essayons de démontrer pourquoi ses mythes et ses rites sont différents de ceux des autres peuples qui bénéficiaient de la présence de l’eau. La situation particulière de sa géographie et le manque naturel de l’eau font de l’Iran un pays chaud et sec. Il y a quatre mille ans, ce manque de pluie sur le plateau iranien a engendré plusieurs croyances religieuses et rituelles en Perse, nous remarquons ce fait dans Avesta et les autres œuvres de l’époque préislamique. Nous voyons clairement la trace de ces croyances dans les folklores contemporains. Les travaux de recherche sur la langue de cette époque sont nombreux par rapport à l’étude des mythes et leurs formations dans la pensée iranienne préislamique. Plusieurs éléments favorisent cette pensée. Notre tâche dans ce travail consiste à les classer pour pouvoir ressortir les structures élémentaires de ces croyances qui perdurent jusqu’à aujourd’hui et les traces sont présentes dans les folklores contemporains. Notre corpus est constitué de l’ensemble des textes de cette époque et en grande partie les textes religieux notamment Avesta qui reste presque intact jusqu’à aujourd’hui et continue à influencer malgré l’arrivé des autres cultures et religions, mais ce qui est intéressant c’est que la pensée iranienne préislamique a su apprivoiser ces cultures et les localiser et leurs donner une forme iranienneThis thesis focuses on the influences of the geographical condition of the Iranian plateau on the creation of the myth of Anāhitā and the beliefs concerning water in Iran and we are trying to demonstrate why its myths and rituals are different from those of other peoples benefited from the presence of water. The particular situation of its geography and the natural lack of water make Iran a hot and dry country. Four thousand years ago, this lack of rain on the Iranian plateau generated several religious and ritual beliefs in Persia as we can notice in Avesta and other works of pre-Islamic era. We clearly see the trace of these beliefs in the contemporary folklores. Researches on the language of that time are numerous compared to the study of the myths and their formations in the pre-Islamic Iranian thought. Several factors support this thought. Our task in this work consists in classifying them to be able to arise the basic structures of these beliefs which continue until today and the traces are present in the contemporary folklores. Our corpus consists of the whole of the texts of that time and mainly the religious texts in particular Avesta which remains almost intact until today and continue to influence despite of the arrival of the other cultures and religions, but what is interesting it is that the pre-Islamic Iranian thought knew how to tame these cultures and to locate them and to give them an Iranian form
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Hincapié, Giraldo Leonardo. "Yseut et Wîs : une lecture junguienne des personnages féminins dans Le Roman de Wîs et Râmîn et dans les romans de Tristan." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030114.
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Cette étude envisage de mettre en parallèle deux personnages féminins (Yseut et Wîs) issus de plusieurs récits médiévaux : les romans de Tristan et Le roman de Wîs et Râmîn. Ces personnages seront analysés sous l’optique de la théorie junguienne des archétypes et de l’Inconscient collectif. Le postulat de base sera donc de considérer que le même principe archétypique est à l’arrière-plan des deux personnages : le Féminin archétypique. Yseut et Wîs font partie de récits qui ont pour origine la mythologie celtique, pour la première, et la mythologie persane, pour la deuxième. A partir de ce constat, on peut voir comment l’élaboration des deux personnages est redevable d’autres images mythiques de la Féminité et de la Femme dans les contextes culturel et mythologique qui entourent chaque récit. Que savons-nous à vrai dire des héroïnes de ces histoires, de leur fonction et de leur rôle dans la construction de ces récits qui les mettent en scène? Retracer cette élaboration qui va de la mythologie à la littérature, repérer les échos des contes folkloriques et populaires qui résonnent encore dans les récits tels que nous les connaissons aujourd’hui, tels sont deux des objectifs primordiaux de cette étude. Une analyse des deux personnages féminins, en tant que symboles d’un même archétype, nous permettra de comparer la dynamique à l’égard du Feminin archétypique dans les deux productions littéraires, ainsi que de repérer leur rôle narratif dans les dénouments si différents des deux histoires. Yseut et Wîs seraient donc les cristallisations d’un imaginaire collectif autour de la Femme et de la Féminité. Elles sont apparues dans deux cultures différentes, à une même époque de l’histoire : le Moyen ÂgeIn this work we will be comparing two feminine characters (Iseult and Vis) from several medieval stories: the romances of Tristan and the romance of Vis and Ramin. These characters will be analyzed using Jungian theory about archetypes and Collective Unconscious. Our basic premise considers that the same archetypal principle drives the two characters: The Archetypal Feminine. We know that the characters of Iseult and Vis belong to stories whose origins are mythological: Celtic origins for the heroine of Tristan romances and Persian origins for the heroine of Gorgani’s romance. Based on this, one can see how the drawing up of these two characters owes much to other mythical images of Femininity and Woman, in the cultural and mythological context of each literary work. What do we truly know and understand about the heroines of these important stories? What do we truly know and understand about their function and their role in the plot of these romances? This work holds two objectives related to these questions. One, to trace the drawing up of the characters from mythology to literature. The other, to identify the echoes of folktales and traditional literature which resonate in these stories even today. Analyzing these two characters as symbols of the same archetype, can allow us to compare the dynamic of the Archetypal Feminine into these literary works, and to identify their narrative function in the two different outcomes of the stories. Iseult and Vis would be then the crystallizations of a collective image about Woman and Femininity. They appeared in two different cultures, at the same moment of history: The Middle Ages
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Nosrat, Shahla. "Origines indo-européennes des deux romans médiévaux : Tristan et Iseut et Wîs et Râmîn." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC002/document.
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L'examen attentif des concordances ponctuelles et annexes des romans de Tristan et Wîs et Râmîn de Gorgâni dévoilela survivance d'un passé idéologique commun provenant de I'idéologie tripartite des Indo-européens. Comme le récitdu roman persan date de l'époque parthe, cette thèse pour découvrir l'énigme d'une transmission ou d'un emprunt, se focalise sur I'origine iranienne de certains thèmes et motifs du roman de Tristan et retrace la migration d'un rameau des peuples iraniens en Europe jusqu'en France. Ce peuple que la mémoire historique connaît sous le nom des Alains était I'un des descendants des Scythes qui étaient eux-mêmes les frères nomades des ParthesA careful examination of occasional concordances and appendices of Tristan and Gorgâni's Wîs and Râmîn novel reveals the survival of a common ideological past borrowed from Indo-Europeans tripartite ideology. As the narration of the Persian novel dates from the Parthian period, this thesis to solve the enigma of a transmission or an adaptation focuses on the Iranian origin of some themes and motifs of Tristan novel and retraces the migration of a branch of lranian people in Europe, even to France. This people who is known by historical memory under the name of the Alans, was one of thedescendants of the Scythians who were themselves the nomadic brothers of the Parthians
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Lohrasbe, Devon. "The classical reception of the hybrid minotaur." Thesis, 2018. https://dspace.library.uvic.ca//handle/1828/9976.
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This thesis offers an interpretation of the myth of Theseus and the Minotaur that accounts for its popularity in fifth century Athens. The myth of the Minotaur had particular political resonance in Classical Athens because of the Minotaur’s hybrid character and eastern connotations. In the wake of the Persian wars, Theseus came to embody Athenian democratic and anti-Barbarian ideals. His canonical opponent, the Minotaur, represented the enemy of the Athenian citizen: an eastern hybrid such as the Persian/Carian/Lycian groups of Anatolia and the east. By aligning the Minotaur with his Near Eastern origins, the story of Theseus sailing to confront the Minotaur can be viewed as the story of Greeks, specifically Athenians, facing what was for them, very real threats from the east. By integrating iconographical and mythological evidence for the myths of Theseus and placing the Minotaur myth within the wider historical and political context of fifth century Athens, this thesis shows that the hybrid Minotaur was a stand in for the Persians.Graduate
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Назарова, И. А., and I. Nazarova. "Роль мифологии фэнтези в формировании мировоззрения современного человека : магистерская диссертация." Master's thesis, 2015. http://hdl.handle.net/10995/31708.
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Целью исследования является определение роли мифологии фэнтези в формировании мировоззрения современного человека. Первая глава работы посвящена анализу специфических черт мифа, в частности, миф описывается в ней как основа эпических жанров. Во второй главе анализируются взаимоотношения мифологических и романтических компонентов в литературе фэнтези и способ их влияния на мировоззрение читателей. В третьей главе описывается социологическое исследование. В этой части работы выявляются специфические черты влияния фэнтези на мировоззрение читателей.The purpose of this research is to define role of mythology of fantasy in the formation of world view of contemporary people. In the first chapter devoted to specific features of myth. Myth is described as base for epic genre. In the second chapter is analyzed relation of mythological and romantic components in the fantasy literature, and the way to influence on world view of readers. In the third chapter is described sociological research. In this part of dissertation are revealed of specific features of influence of fantasy on reader’s world view.
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Rieske, Tegan Echo. "Alzheimer's Disease Narratives and the Myth of Human Being." Thesis, 2012. http://hdl.handle.net/1805/3183.
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Indiana University-Purdue University Indianapolis (IUPUI)The ‘loss of self’ trope is a pervasive shorthand for the prototypical process of Alzheimer's disease (AD) in the popular imagination. Turned into an effect of disease, the disappearance of the self accommodates a biomedical story of progressive deterioration and the further medicalization of AD, a process which has been storied as an organic pathology affecting the brain or, more recently, a matter of genetic calamity. This biomedical discourse of AD provides a generic framework for the disease and is reproduced in its illness narratives. The disappearance of self is a mythic element in AD narratives; it necessarily assumes the existence of a singular and coherent entity which, from the outside, can be counted as both belonging to and representing an individual person. The loss of self, as the rhetorical locus of AD narrative, limits the privatization of the experience and reinscribes cultural storylines---storylines about what it means to be a human person. The loss of self as it occurs in AD narratives functions most effectively in reasserting the presence of the human self, in contrast to an anonymous, inhuman nonself; as AD discourse details a loss of self, it necessarily follows that the thing which is lost (the self) always already existed. The private, narrative self of individual experience thus functions as proxy to a collective human identity predicated upon exceptionalism: an escape from nature and the conditions of the corporeal environment.
Books on the topic "Mythology, Persian"
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Farhang-i asāṭīrī va tārīkhī: Az Kayūmars̲ tā Iskandar bā shavāhidī az Shāhnāmah-ʼi Firdawsī. [Tehran]: Intishārāt-i Ishtiyāq, 2003.
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Farhang-i alifbāyī, mawz̤ūʻī-i asāṭīr-i Īrān-i bāstān. [Tihrān]: Nashr-i Akhtarān, 2005.
Find full textBook chapters on the topic "Mythology, Persian"
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Kottler, Jeffrey A., and Richard S. Balkin. "Mythology and Ethics." In Myths, Misconceptions, and Invalid Assumptions About Counseling and Psychotherapy, 202–14. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090692.003.0014.
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In Mythology and Ethics the authors note the difficulty in navigating emotional and values-based conflicts. Cases of counter-transference are common and require an awareness by the therapist to address the conflict. Sometimes a referral could be necessary. But when such conflicts are values-based, ethical bracketing is recommended, which runs counter-intuitive to countertransference. Individual change, even for therapists, can be difficult, and although the research basis for counter-transference is well-established, extant research on ethical bracketing is very limited. Such issues, along with other ethical mandates such as confidentiality, can compromise client trust. Moreover, although therapists may strive to be honest with clients, transparency and honesty are not always easy to maintain. Therapists cannot guarantee the success of a client or know that an intervention will be effective. Yet, such statements often persist in counseling.
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Bignell, Jonathan. "Metacommentary and Mythology." In Transatlantic Television Drama, 163–80. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0011.
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The chapter focuses on the comedy drama Episodes (2011–2018), made by the British production company Hat Trick for the BBC and Showtime. A British husband and wife duo of screenwriters work on a US network adaptation of their hit UK comedy show, which is “Americanized,” and they fight for their creative authority and their marriage. Episodes has a hybrid identity in terms of form, format, and genre, expressed in decisions including setting, casting, and performance style. Each of these can be read as a commentary on the similarities and differences between American and British television cultures, alongside the narrative’s thematization of cultural and national differences. Episodes talks about transatlantic television and self-consciously performs it, asking whether a program or a person can be transatlantic by making a joke of it. The chapter argues that Episodes is a metacommentary on deeply embedded myths about the TV of each nation.
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"The Mythology of History, Family and Performance Rick DesRochers." In Suzan-Lori Parks in Person, 119–21. Routledge, 2013. http://dx.doi.org/10.4324/9780203103845-21.
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Austin, Christopher R. "Introduction." In Pradyumna, 1–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190054113.003.0001.
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This chapter presents to the reader the initial and rudimentary facts about Kṛṣṇa’s son Pradyumna, and offers a hypothesis on why this figure of Hindu mythology has been so poorly studied. This requires a review of the relationship between the monograph’s two most important sources—the Sanskrit Mahābhārata and its appendix, the Harivaṃśa. Brief synopses of the seven individual body chapters are provided, followed by an articulation of the two dominant thematic patterns discovered by the study: (a) an evolving cooperation in the mythology of Pradyumna between three aspects of his character—as an erotic figure (lover), master of illusory subterfuges (magician), and double of his father Kṛṣṇa (scion of the avatāra); and (b) the social and gender commitments that conspired to produce a masculine ideal of a mutually implicating sexual and violent power, each embodied as a mode of the other in the persona of Pradyumna.
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Rubery, Jill. "Afterword: Final Word and the Path Forward – Is the Myth of Austerity Giving Way to the Myth of the Robots Taking the Jobs?" In Working in the Context of Austerity, 321–34. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529208672.003.0016.
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This chapter studies a new robots-are-taking-over mythology that is emerging to replace the austerity mythology that unrestrained, perfectly functioning markets are offering an alternative to state welfare systems. The austerity mythology argued that debt was the pivotal problem for governments to wrestle down, and that markets should take over responsibilities from the state, shifting responsibility to the average person to self-provide or meet all their needs through wage employment or unpaid labour. Providing a low-tax regime to businesses would incentivize them to expand employment and to entrepreneurially take new risks and offer job opportunities for all, as long as workers were not selective about wages, work, conditions, or hours. However, people are now told that robots will replace humans in most jobs and that they all will soon be unemployed. The chapter points out that the gutting of social supports and entitlements under austerity and neoliberalism means that those thrown out of work will quickly become destitute, and social unrest is likely to follow. To avoid this dire scenario, it calls for a major rethinking of social policies and employment, drawing on Nancy Fraser's gender-equity model, wherein breadwinning and care-giving responsibilities are shared across society, with the support of strong social programmes in which employment is protected and regulated in the interests of working people.
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Gotian, Ruth. "Blended Learning With a Virtual Mentoring Community." In Computer-Mediated Learning for Workforce Development, 111–31. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-4111-0.ch006.
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Mentoring, the tutelage of one person by a more experienced one, is well documented to have a multitude of benefits. Mentoring, which can be traced back to Greek mythology and beyond, has seen its format evolve, especially with the advancement of technology. Traditional models of mentoring include in-person mentoring or more recently, online mentoring. For some underrepresented groups, mentors provide models for success. In 2014, capitalizing on technological advancements and the need for in-person dialogue with a larger constituency, Weill Cornell Medicine launched a science, technology, engineering, and math (STEM) blended learning curriculum during its summer program that prepares undergraduates for careers as physician-scientists. This initiative fuses the positive aspects of in-person mentoring along with the opportunities provided by virtual mentoring by a larger group of peer mentors. Blended learning, together with in-person and virtual mentoring, offers a newly charted multi-dimensional approach to fulfilling academic and career goals during a STEM summer program.
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Huddleston, Andrew. "Introduction." In Nietzsche on the Decadence and Flourishing of Culture, 1–10. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198823674.003.0010.
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In 1872 the young Basel Professor Friedrich Nietzsche, then among the most promising philologists of his day, shocked the scholarly community with the publication of The Birth of Tragedy. In his first book, filled with more fervor than footnotes, Nietzsche dispensed with the cautious, measured claims that were expected of works in Classics and spun a bold narrative about the origins and decline of Attic Greek tragedy. However striking Nietzsche’s historical story was, classical history for its own sake was never Nietzsche’s aim. Modern cultural health was at this point his paramount concern, and he looked to the ancient world for lessons about the modern one. In the person of Richard Wagner, to whom the book is effusively dedicated, Nietzsche saw someone who might bring together a fragmented and directionless modern society through the creation of a new mythology. Such a mythology would give renewed meaning and purpose to human life, and revitalize a flagging culture, where religious belief was on the wane. The centerpiece of this revival would be a new festival, modeled on the Greek tragic festival of yore. With these great, almost absurd, ambitions for Wagner, and for a renewed form of high culture with the potential to transform modern society, it is little surprise that Nietzsche’s hopes were dashed....
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Pivojev, Vassily M. "Luctis Cogitatio and Noctis Reflectio as the Forms of Consciousness and Human Exploration of the World." In The Paideia Archive: Twentieth World Congress of Philosophy, 93–101. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199816322.
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The task of philosophy in the modern world consists in the construction of a methodology of self-consciousness and self-development in the person-the method of human knowledge. I suggest a binary approach to the development of human reason which is able to understand both the world and the place of the person in the world. This allocates two spheres and two forms of consciousness: 'day time' (practical) and 'night' (spiritual). The basic functions of the former are: cognitive-explanatory; service of the practical, economic, and industrial activity; praxis; methodological for engineering and technology; critical-reflecting control of mind; the blocking of 'night' consciousness and the curbing of irrational instincts; safety and preservation; establishment of norms. Functions of the former include elements related to axiology, teleology, creativity, understanding and mythology. Both forms of consciousnesses differ yet supplement each other and should therefore cooperate systematically through a shared educational dialogue.
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Rutter, Emily Ruth. "Crossing the Color Line in Mark Winegardner’s The Veracruz Blues and Kevin King’s All the Stars Came Out That Night." In Invisible Ball of Dreams, 113–34. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817129.003.0009.
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Framed by Jacques Derrida’s reading of the archive as a vehicle for social control, this chapter and the following one consider the epistemological pressure that contemporary authors put on baseball history and mythology. Chapter 5 thus examines Mark Winegardner’s The Veracruz Blues (1996) and Kevin King’s All the Stars Came Out That Night (2005), novels that narrativize interracial play before Jackie Robinson’s 1947 start for the Brooklyn Dodgers. Casting doubt on the reliability of their white first-person narrators, both of whom are reporters, Winegardner and King imply the mediated nature of all historical knowledge. Moreover, The Veracruz Blues and All the Stars Came Out That Night represent a more socially progressive wave of black baseball fiction, devoid of heroic white male protagonists and/or teleological tales about the transition from segregation to integration—strategies that compromise the cultural work of the white-authored novels published during the 1970s (chapters 1 and 2).
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Falk, Hjalmar. "Katechontic Democracy? Carl Schmitt and the Restraining Mediation of Popular Power." In Constituent Power, 151–65. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474454971.003.0010.
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This chapter analyses how Carl Schmitt’s apocalyptic political mythology can provide a critical form for grasping contemporary challenges to the tradition of popular democratic rule. Schmitt’s conception of an ‘illiberal’ democracy is based on seemingly contradictory elements of both ‘populism’ and ‘technocratic elitism’, attempting as it does to wed the popular enthusiasm of mass democracy to a concrete order through the principle of a shared homogeneous identity and the somewhat paradoxical idea of a ‘charismatic bureaucracy’. This amalgamation of authoritarianism and popular sovereignty emanates from what can be described as Schmitt’s ‘katechontic impulse’, a name derived from a Biblical figure introduced by St Paul. The Katechon is the principle or the person that restrains lawlessness or ‘the lawless one’, often interpreted as Antichrist and his reign before the end of days. The chapter shows how Schmitt’s apocalyptic imagery of an ordered popular sovereignty can be illustrated by this politico-theological mytheme and further investigates the implications thereof for contemporary democratic politics.