Journal articles: 'Art and mythology'

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Nolasco, Ana. "Art, Mythology and Cyborgs." Dialogue and Universalism 25, no. 1 (2015): 104–11. http://dx.doi.org/10.5840/du201525114.

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Karim, Baigutov, Myrzakanov Madvakas Seksembaevich, Aiman Suyuberdieva, Gulzhan Maulenberdieva, Marzhan Kudaibergenova, Lyazzat Baybolat, and Kymbat Ibrayeva. "Painting education of Kazakh mythology." Cypriot Journal of Educational Sciences 16, no. 4 (August 31, 2021): 1956–75. http://dx.doi.org/10.18844/cjes.v16i4.6064.

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Various scientific studies, interpretations, analyses, and comparisons have revealed a strong link in the origin of Kazakh mythology in contemporary Kazakh society. The main problem in this lies in the fact that existing research on mythology has always centered in fields of literature, philosophy, religion and culture, and history. Previous scholars have always overlooked the study of mythology in the field of art. It’s for this reason, that this research article centered on the mythology in the art of painting education and especially pictorial analysis of Kazakh mythology. In the article, the definition and history of Kazakh mythology are given and the studies of the researchers on mythology are mentioned. The painting educations made within the scope of the research article are inspired by the myth of "Er Tostik". The research conducted within the scope of a creative and scientific analysis shows that the works related to the formation of Kazakh mythology have an important place in the history of Kazakh painting education. Besides, important subjects of Kazakh mythology in Kazakh art history were determined and how they affected the works of the painters were examined and interpreted comparatively. Keywords: Kazakh mythology, Kazakh painters, Er Tostik, art, painting, woodcut technique

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Dodson, Timothy. "Breaking Ground: Art, Archaeology & Mythology." International Journal of the History of Sport 34, no. 3-4 (March 4, 2017): 300–301. http://dx.doi.org/10.1080/09523367.2017.1373458.

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Waites, Ian. "Breaking ground: art, archaeology & mythology." International Journal of Heritage Studies 23, no. 9 (June 11, 2017): 906–8. http://dx.doi.org/10.1080/13527258.2017.1338604.

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Warwick, Tosh. "Breaking ground: art, archaeology & mythology." Sport in History 39, no. 1 (January 2, 2019): 116–19. http://dx.doi.org/10.1080/17460263.2019.1572994.

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Zhao, Yiming, and Dongfang Zheng. "Traditional Chinese Mythology in Animation Art." Highlights in Art and Design 3, no. 3 (July 20, 2023): 61–63. http://dx.doi.org/10.54097/hiaad.v3i3.11220.

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Chinese traditional myths, as an important part of Chinese culture, have been widely applied and expressed in animation art. From the perspective of animation art, this paper will discuss in depth the expression forms and expression methods of traditional Chinese myths in animation art, including the use of myth elements in animation, the creation of myth characters, the way of narrating myth plots, and the expression of myth meanings. Through analyzing and comparing related animation works, this paper will explore the performance characteristics of Chinese traditional myths in animation art and its relationship with contemporary animation art, so as to provide reference for the inheritance and development of Chinese traditional culture.

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Ball, Laurie. "Parallels between Art and Mythology: Implications for Art Education." Art Education 44, no. 2 (March 1991): 8. http://dx.doi.org/10.2307/3193300.

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Borea, Giuliana. "Personal cartographies of a Huitoto mythology:." Revista de Antropologia da UFSCar 2, no. 2 (December 1, 2010): 67–87. http://dx.doi.org/10.52426/rau.v2i2.27.

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Rember Yahuarcani López was born in Pebas, in the Peruvian Amazonian department of Loreto, in 1985. He belongs to the Aymenu clan of the Huitoto group. In 2003 he came to Lima for the first time. His father, the painter and sculptor Santiago Yahuarcani, was invited to impart workshops as part of the exhibition Serpiente de Agua. Instead, he decided to send his son. This opportunity would change Rember Yahuarcani’s perspective on his life and artwork. This article explores Rember Yahuarcani’s art practice and the creation of his own pictorial vocabulary based on his traditions, his artistic explorations, and his new experiences. The article also analyzes Yahuarcani’s discourse and performance in making himself a contemporary artist, and his receptivity in the Limeño art scene. Yahuarcani’s trajectory will be examined in relation to new art agents’ strategies, networks, and narratives that aim to provide a more established visibility to Amazonian contemporary art in Lima’s art circuits. A new art agenda in which Yahuarcani participates and thus shapes.

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Baigutov, Karim, Aman Ibragimov, Alzhanov Gadilbek Kh., Kumarkan Muratayev, Taiyrzhan Iskakov, and Dzhanaev Miyat. "Evaluating and redesigning the teaching practices of the Kazakh Mythology- engraving techniques." PLOS ONE 19, no. 5 (May 14, 2024): e0296905. http://dx.doi.org/10.1371/journal.pone.0296905.

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The study was designed to explore and develop art students’ interest and engagement in Kazakh mythology and using engraving techniques. The archetypic and challenges of Kazakh mythology in art students were not previously explored. Therefore, the need for study in this domain was essential to cover the gap in the literature. The gap has been recently discovered by Kazakh scholars although it has been explored by foreign authors but the authenticity of such studies remains a question. The study was experimental and the results show a strong association between art’s student’s engagement with Kazakh mythology using engraving techniques. Moreover, the elective course was selected by 90% class of the art students voluntarily. The teaching method developed for the study provides strong results and the outcome of the experiment was well above 80%. The study used a systematic method along with comparative analysis based on Kazakh myths, culture, ethnology, folklore, mythology, and archeology.

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Holman, Beth L. "Goltzius' Great Hercules: mythology, art and polities." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 42-43, no. 1 (1991): 397–412. http://dx.doi.org/10.1163/22145966-90000625.

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Hikmatova Muqadas Nurilloevna. "Mythology in folklore and its features." Middle European Scientific Bulletin 6 (November 18, 2020): 63–66. http://dx.doi.org/10.47494/mesb.2020.6.117.

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In the article, folk art - artistic, creative-practical and amateur activity of the masses; folklore, folk music (folklore), folk theater (performing arts), folk dances (dances), puppetry, wood and wooden foot games (folk circus), folk fine and applied arts of traditional material and intangible culture information and examples of art and technical and artistic hobbies

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Beal, Jane. "'A Mythology for England': Teaching Tolkien's Arthurian Inspirations." Arthuriana 32, no. 4 (December 2022): 10–29. http://dx.doi.org/10.1353/art.2022.0036.

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Neils, Jenifer, and Frances van Keuren. "Guide to Research in Classical Art and Mythology." American Journal of Archaeology 98, no. 4 (October 1994): 783. http://dx.doi.org/10.2307/506562.

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Steiner, Ann, and Frances Van Keuren. "Guide to Research in Classical Art and Mythology." Classical World 87, no. 3 (1994): 247. http://dx.doi.org/10.2307/4351479.

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Türe, Hatice, Uğur Türe, F. Ylmaz Göğüş, Anton Valavanis, and M. Gazi Yaşargil. "The Art of Alleviating Pain in Greek Mythology." Neurosurgery 56, no. 1 (January 2005): 178–86. http://dx.doi.org/10.1227/01.neu.0000146209.19341.3b.

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Türe, Hatice, and Uğur Türe. "The Art of Alleviating Pain in Greek Mythology." Neurosurgery 58, no. 3 (March 2006): E590. http://dx.doi.org/10.1227/01.neu.0000207973.21811.20.

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Machinis, Theofilos G., and Kostas N. Fountas. "The Art of Alleviating Pain in Greek Mythology." Neurosurgery 58, no. 3 (March 2006): E590. http://dx.doi.org/10.1227/01.neu.0000207974.15973.ef.

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Ntaidou, T. K., and I. I. Siempos. "The Art of Providing Anaesthesia in Greek Mythology." Anaesthesia and Intensive Care 40, no. 1_suppl (July 2012): 22–27. http://dx.doi.org/10.1177/0310057x120400s105.

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Siempos, Ilias I., Theodora K. Ntaidou, and George Samonis. "The Art of Providing Resuscitation in Greek Mythology." Survey of Anesthesiology 59, no. 3 (June 2015): 161. http://dx.doi.org/10.1097/01.sa.0000464146.74928.9c.

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Romaine, James Gaillard, Carol Zemel, Jan Hulsker, Ronald de Leeuw, Arnold Pomerans, Vincent van Gogh, and Tsukasa Kodera. "Van Gogh's Dilemma: Caught between Mythology and Art." Art Journal 57, no. 1 (1998): 84. http://dx.doi.org/10.2307/777997.

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Siempos, Ilias I., Theodora K. Ntaidou, and George Samonis. "The Art of Providing Resuscitation in Greek Mythology." Anesthesia & Analgesia 119, no. 6 (December 2014): 1336–41. http://dx.doi.org/10.1213/ane.0000000000000416.

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Gnezdilova, Elena. "MYTHOLOGY OF ORPHEUS IN CLASSICAL CULTURAL TRADITION." Проблемы исторической поэтики 19, no. 3 (September 2021): 35–52. http://dx.doi.org/10.15393/j9.art.2021.9542.

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The article examines the peculiarities in the formation of the Orpheus mythologeme in the ancient cultural tradition. An analysis of the works of ancient authors, including Pindar, Aeschylus, Euripides, Apollonius of Rhodes, Virgil and Ovid allows to single out the specifics of creating the image of Orpheus. The latter is seen by the above-mentioned authors not only as a poet and musician who had lost his beloved Eurydice, but also as the founder of cult rites known as Orphic mysteries. “Orphism” as a system of religious and philosophical views became most widespread in the era of Peisistratus in the 6th century BC in Attica. Dionysus, revered by the Orphic, was important for farmers as a deity of eternal rebirth and powerful natural forces. In the ancient cultural tradition, the image of Orpheus develops under a double sign: both Apollo and Dionysus. The ideas of Orphic philosophy can be found in the religious and philosophical teachings of the Pythagorean school and in the writings of Plato. The original transformation of the Orphic-Pythagorean ideas and the mythologeme of Orpheus occurs in Virgil’s Georgics and Ovid’s Metamorphoses, which are also the subject of this article. The comparative historical analysis of artworks and philosophical treatises of antiquity carried out in the course of this study indicates that the mythologeme of Orpheus in the ancient cultural tradition is an example of the embodiment of the syncretic unity of art and religion in the archaic consciousness.

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Kirsanova, Anna Vladimirovna. "Catastrophism and eschatology in the context of religion, philosophy, and art." Uchenyy Sovet (Academic Council), no. 6 (May 25, 2022): 407–21. http://dx.doi.org/10.33920/nik-02-2206-08.

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The article deals with the concepts of catastrophism and eschatology, which are directly related to the mythological and religious vision of the world. The author shows that ideas about the other world have deep psychological roots and, along with moral aspects, thoughts about retribution and judgment in a different reality, as well as gaining bliss, were already present in the mythology of Ancient Egypt, ancient mythology and philosophy. The material of the article can be useful for the disciplines "History of Culture", "History of Religion", and "Culturology".

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Adhikari, Anasuya, and Birbal Saha. "Shakuntala: As Authored by Kalidas and Painted by Raja Ravi Varma." Galore International Journal of Applied Sciences and Humanities 5, no. 4 (December 28, 2021): 45–53. http://dx.doi.org/10.52403/gijash.20211008.

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Mythology has always been an appealing area which has been engrossing readers and listeners since ages. Mythology plays distinctive roles and employs its sacred narratives, art and rituals to keep the values and morals of the society intact. This system of writing texts on mythology was common to the entire subcontinent and produced its own literature written in Sanskrit. One such magnum opus is Abhijnanashakuntalam authored by the great Sanskrit maestro, Kalidas. It is also important to note that mythology in the form of texts was accessible to a very limited class of people which included the elites, literates, scholars etc, and consequently a large section of the society remained unaware of these episodes and virtues. It is where, Raja Ravi Varma, ‘Father of Modern Indian Art’ is credited to bring these episodes in the form of both painting and printing to the commoners. This not only attracted a huge number of people towards mythology, Hindu culture and tradition but also urged to preserve values. The present paper is an attempt to study the contributions of the two maestros, Kalidas- as the author of Abhijnanashakuntalam and Raja Ravi Varma-as the painter of the Shakuntala Series, comparative studies of how both the maestros perceived the character of Shakuntala, portrayal of ‘beauty’, and how the play, painting and printing was appreciated, responses gathered and inspirations shared. Keywords: Kalidas, Raja Ravi Varma, Shakuntala, Mythology and Painting, Oleographs

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Rehman, Shazia. "INDIAN MYTHOLOGICAL HYBRID FORMS IN CONTEMPORARY INDIAN ARTWORKS." International Journal of Research -GRANTHAALAYAH 4, no. 12 (December 31, 2016): 155–69. http://dx.doi.org/10.29121/granthaalayah.v4.i12.2016.2405.

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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.

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BOZOK, Barış. "GODDESS CYBELE AND UMAY ANA İN CONTEMPORARY TURKİSH ART." IEDSR Association 7, no. 20 (July 22, 2022): 167–79. http://dx.doi.org/10.46872/pj.579.

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In the past and today, many artists have made artistic productions based on their mythologies and cultures. It is seen that they are trying to convey their mythology and culture with works from all branches of art. In this research, it is studied how the cult of Goddess Cybele, which is considered as a subject in plastic arts, and the cult of Umay Ana, which is included in Turkish Mythology, reflected in Contemporary Turkish Art, from the Anatolian mythology and culture field, which has a very wide structure. In the research, the works of Neslihan Kıyar, one of the artists who reflect the cult of Goddess Cybele to her works, and the works of Can Göknil, who reflects the cult of Umay Ana to her works, are discussed. At the same time, the focus was on the original work of researcher Barış Bozok, "Umay Ana". The data were obtained through literature review and work review, one of the qualitative research methods. As a result of this research, in which the reflections of the Cybele and Umay cult, which continue their existence in today's Anatolian culture, on Contemporary Turkish Art; It is seen that the studies of the cult of Umay are less discussed compared to the cult of Cybele. The main characters of Kibele and Umay, both representing fertility, abundance and strong woman, are the characters who preserve their values in cultural life as goddesses.

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Murali, Chaya N. "The stories behind the art—Malformations and Hindu mythology." American Journal of Medical Genetics Part C: Seminars in Medical Genetics 187, no. 2 (May 13, 2021): 261–64. http://dx.doi.org/10.1002/ajmg.c.31909.

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Türe, H., U. Türe, F. Y. Gögüs, A. Valavanis, and M. G. Yasargil. "987 THE ART OF ALLEVIATING PAIN IN GREEK MYTHOLOGY." European Journal of Pain 10, S1 (September 2006): S255b—S255. http://dx.doi.org/10.1016/s1090-3801(06)60990-7.

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Butterworth-McDermott, Christine. "Dolls, Freaks, Art: American Poets Creating a New Mythology." Pleiades: Literature in Context 37, no. 2S (2017): 1–4. http://dx.doi.org/10.1353/plc.2017.0164.

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Malyarchuk, Kateryna. "The makeup art: social stratification and social myth." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 121–26. http://dx.doi.org/10.32461/2226-0285.1.2021.238600.

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Purpose of the article. The purpose of the article is to analyze the phenomenon of makeup art and its connection with social stratification and social myth. Methodology. The study of the phenomenon of makeup in connection with social mythology and social stratification is associated with the use of general scientific methods of analysis, generalization, synthesis, etc. Not only in line with art history and sociological knowledge, but also knowledge of psychology, cultural studies, philosophy, etc., which provides for the integration and inclusive combination of appropriate methods and approaches. The artistic and typological method made it possible to analyze the phenomenon of makeup, social myth and social stratification as integral phenomena with specific features. The combination of anthropological, axiological and historical approaches with the use of socio-cultural and art criticism tools made it possible to identify the main value-semantic and content-structural constants of these phenomena. Scientific novelty. The art of makeup is presented as the basis of social mythology and its connection with social stratification, which makes it possible to position makeup as one of the backbone components of the socio-cultural system, as well as facilitate the study of the entire spectrum of its cultural phenomena. Conclusions. Makeup, as an axiologically loaded phenomenon, is the basis for the creation of social mythology and support for social stratification, characterizes the processes of social development, significantly affects the public consciousness and behavior of both social groups and individual subjects. By the nature of the course of the processes of being, the phenomenon of makeup allows one to see the specifics of social phenomena and determine their place in the structure of social life. The positive role of makeup is that it is one of the conditions for the integrity of society, providing cultural, art, moral, etc. the continuity of its imperatives. The negative one is that it not only represents the social stratification of society, but also becomes a means of deepening it, stereotyping and accumulating in its practices both positive and negative patterns of sociocultural models of behavior. Because, as part of social mythology, the phenomenon of makeup is ambiguous: on the one hand, it partly threatens social development, and on the other hand, it helps to consolidate people and society in overcoming the challenges of our time.

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Naydysh, V. M. "MYTHOLOGY AND THEOLOGY. Second Article." RUDN Journal of Philosophy 23, no. 2 (December 15, 2019): 210–21. http://dx.doi.org/10.22363/2313-2302-2019-23-2-210-221.

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The concept of interpretation (as a procedure for determining the values of those abstractions that are used in the theorization of knowledge, in the process of developing an abstract model of the subject) is applicable to any forms of knowledge, including systems of religious knowledge, designing the ideal model of the subject of religious veneration. The author analyzes the epistemological features of theology as a form of spiritual culture, its formation in ancient culture. It is shown that the epistemological basis for overcoming mythological consciousness was the decentralization of thinking, i.e. development of the ability of consciousness in the construction of the image, the picture of the world to correct the position of the subject, to take into account the relativity of the reference system, from the standpoint of which the subject perceives the object and transforms it into an operational system of thinking. Decentration of thinking provided the overcoming of the subjective mental boundaries of the field, giving the thinking nature of universality. Historical stages and moments of this process - the transformation of mythology into forms of folk art, mythopoetic epic, in the form of religious consciousness. In line with such transformations of archaic consciousness, cultural and historical prerequisites of theology emergence were formed. They are represented in mythopoetic art (Homer, Hesiod, etc.), ancient mythography, early traditions of critical and rationalistic interpretation of the myth, etc. The article shows the formation of allegorical theology, which became possible in the era of individualization of artistic creativity, when the visible was the difference between the motive and the purpose of activity, creative idea and its embodiment, figuratively-poetic and rationally-conceptual ways of reflecting the world, when the image of reality and its personal meaning began to be realized as different States of consciousness. The main function of any theology is the interpretation of abstract models of the subject of religious veneration (the imaginary image of the supernatural).

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SMORZHEVSKA, Oksana. "THE MYTHOLOGY OF WAR: ARTISTIC IMAGES AND MEANINGS." Almanac of Ukrainian Studies, no. 30 (2022): 108–14. http://dx.doi.org/10.17721/2520-2626/2022.30.15.

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In scientific research, the artistic images and meanings of the mythology of the Russian-Ukrainian war; their influence on the society and cultural space of Ukraine and its image in the world are outlined and broadly classified. The research focuses on the events after the full-scale invasion of Ukraine by Russia on February 24, 2022. The mythology of war has several vectors. First of all, it is the creation of new myths and an appeal to the archetypal images of Ukrainian culture, to the archaic layers of our worldview, actualized in the conditions of a fullscale war. Through art, you can convey the images of a new mythology that is being created before our eyes. Today, the Cyborgs (defenders of the Donetsk airport), the militarized image of Taras Shevchenko, have already become the core images of the mythology of the Russian-Ukrainian war. The full-scale invasion gave rise to new images and meanings: The Ghost of Kyiv, Bucha, Azovstal, Chornobaivka, Zmiiny, Zmiiebaivka Red Forest, Patron Dog, Crimean Dog, Bavovniatko. Among the characteristic features of artistic reflections of war events, the following can be distinguished: "glamorization" of war images, their humorous and satirical depiction and interpretation; dehumanization of the enemy (Orcs, Russians, Rashists); a powerful array of song creativity (the curse song "It will be like the witch will say!" became especially popular); creative depiction of acute social problems caused by the war (experience of war by women, children, less mobile groups of people, animals); creative understanding of the personal experience of war. It has been proven that russia's full-scale invasion of Ukraine on February 24, 2022, the occupation of territories, the destruction of civilian infrastructure, and the abuse of peaceful people became the impetus for serious worldview changes for many Ukrainians. It can be argued that russian aggression contributed to the process of Ukrainization. This also affected art reflections, especially among singers, artists, and actors. In this research, the author only outlines certain trends and vectors of the mythology of the war, which were reflected in art practice.

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Akanova, Aikerim, Lyazzat Yespekova, Kuanyshbek Kenzhalin, Amangul Adilbek, and Amina Magzumbekova. "Mythical cognition and social consciousness (based on mythological characters)." Scientific Herald of Uzhhorod University Series Physics, no. 55 (November 24, 2023): 2674–81. http://dx.doi.org/10.54919/physics/55.2024.267vt4.

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Relevance. The set of views that are closely related to art and culture, which develops and develops in close connection with the life of the nations of the world over the centuries is called a worldview.Purpose. The root of such concepts as national cognition, national identity, general worldview is intertwined with mythology.Methodology. The article also proves the origin, foundation, continuity and irony of the mythology found in Turkic and foreign mythology, as well as analyzes the similarities and differences between the core of the Turkic worldview, mythical knowledge of the peoples in the world.Results. Because myth is an integral part of popular knowledge, translated from the Greek, �Myphos� means a legend, a story. The article considers the mythical vocabulary in the context of the mythological knowledge of the Turkic peoples, based on Kazakh folk prose.Conclusions. The conclusions of foreign and domestic scientists on general mythology and scientific opinions in the context of the inseparable link between myth and society were confirmed.The basis of general mythology the views of scientists in the field of mythical vocabulary, which are found in science are summarized in one channel. The roots of Turkic mythology in the world mythology are revealed and a comparative analysis is made.

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Kalashnikova, A. A. "Mythology of the art market: the artist as a brand." Moscow State University Bulletin. Series 18. Sociology and Political Science, no. 2 (January 1, 2015): 250–61. http://dx.doi.org/10.24290/1029-3736-2015-0-2-250-261.

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Tributsch, Helmut. "Does Mirage-Derived Mythology Give Access to San Rock Art?" South African Archaeological Bulletin 55, no. 171 (June 2000): 71. http://dx.doi.org/10.2307/3888894.

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Katzive, Bonnie. "Looking, Writing, Creating." Voices from the Middle 4, no. 3 (September 1, 1997): 1–5. http://dx.doi.org/10.58680/vm19973754.

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Describes how a middle school language arts teacher makes analyzing and creating visual art a partner to reading and writing in her classroom. Describes a project on art and Vietnam which shows how background information can add to and influence interpretation. Describes a unit on Greek mythology and Greek vases which leads to a related visual assignment.

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Syvachuk, Natalia. "THE ESTABLISHMENT OF UKRAINIAN MYTHOLOGY AS A SCIENCE FROM THE PRE-SCIENTIFIC PERIOD TO THE BEGINNING OF THE 20TH CENTURY." Collection of Scientific Papers of Uman State Pedagogical University, no. 4 (October 31, 2023): 29–42. http://dx.doi.org/10.31499/2307-4906.4.2023.292336.

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This article is devoted to the problem of the formation of Ukrainian mythology as a science from the pre-scientific period to the beginning of the 20th century. Ukrainian mythology is a part of all-Slavic mythology. The question of the formation of this science is a special place in our time, when Ukraine is choosing its right to understanding. The author examines the sources of the study of Ukrainian mythology and singles out the following: oral folk art, data from ethnography, archeology, onomastics, chronicles (instructions against paganism, Nestorʼs annals from 980 about the establishment of the Kumyriv by Prince Volodymyr, the biography of Prince Volodymyr in manuscripts of the 15th–17th centuries, etc.). Archaeological data – Zbrutskyi idol, pagan complex of the 2nd–5th centuries AD. in the village of Ivankivtsi in Khmelnytskyi, etc.).Scientists associate the beginning of the collection and study of information on Ukrainian mythology with the names of the ascetic of the “Russian Trinity” Hryhoriy Ilkevych (1801–1841), his work “On Russian Mythology according to folk tales” (1837), as well as the work of Ivan Vahylevych on the study of folk mythology and the work of Ya. Holovatsky “Essay on Old Slavic fables or mythology” (1866).The scientific period of the study of Ukrainian mythology is associated with the names of M. Kostomarov (“Slavic mythology”), O. Kotlyarevskyi (“On the funeral rites of pagan Slavs”), O. Potebny (“On some symbols in Slavic folk poetry”, “Language and thought”, “On the mythical meaning of some rites and beliefs”, “On the connection of some ideas in language”, “On Fate and creatures related to it”, “On bathing fires and related to their ideas” and others...).A notable phenomenon in the realm of mythology was the work of I. S. Nechuy-Levytskyi “Worldview of the Ukrainian People”. A significant event was the activity of P. Chubynskyiʼs expedition and M. Dragomanovʼs work “Little Russian Tales and Stories”.The scientific understanding of Ukrainian folk mythology belongs to V. Hnatyuk, in whose work the simplicity and accessibility of the presentation of the material is combined with deep scientific knowledge.An important milestone in the formation of Ukrainian mythology is the study of Ivan Franko (“Peopleʼs beliefs in Pidhirya”. The studies of D. Shcherbakivskyi, F. Kolessa, M. Sumtsov, A. Onyshchuk, T. Rylskyi, V. Dashkevich are significant. Keywords: mythology; Ukrainian mythology; worldviews of Ukrainians; mythological views; history; archeology; folkloristics; culturology; philology; psychology; mythical consciousness.

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Maulenov, A. A., and N. K. Matbek. "Neomythology in works of art." Keruen 74, no. 1 (March 15, 2022): 160–69. http://dx.doi.org/10.53871/2078-8134.2022.1-12.

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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.

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Shintar, Tatyana Anatolevna. "Archetypal images of modern social mythology." Философская мысль, no. 5 (May 2022): 31–40. http://dx.doi.org/10.25136/2409-8728.2022.5.38158.

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The article is devoted to the problem of reproduction of the archetypes of the collective unconscious in modern social mythology. The question of primordial images in recent years has been the focus of research attention of many social sciences: anthropology, psychology, philosophy. The article presents the prerequisites for the development of social mythology and a brief overview of its research. In the course of the analysis of archetypal images, four major areas of research in modern social mythology are characterized: structuralist, semiotic, phenomenological and psychoanalytic. Mythological images used in various spheres of life are presented as the subject of research: in mass culture, mass media, art, education, etc. 6 archetypes are characterized: Infant, Virgin, Mother, Rebirth, Spirit, Trickster. Their features and specifics are shown. Examples of the use of archetypes in archaic myths of different peoples and in modern socio-mythological creativity are given as illustrations, which demonstrates the viability of archetypal images. The transformation of the images of the characters of archaic myths in popular culture is demonstrated. The article defines the common features of modern social mythology and archaic myths. It is concluded that archetypal images of social mythology play an important role in social life: through modern social myths, society adapts to the changing conditions of its life; archetypal images of modern social mythology perform the function of maintaining a pattern, reproducing the value-normative system of society.

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Wei, Huige, Dapeng Cui, Junhui Ma, Liqiang Chu, Xiaoyu Zhao, Haixiang Song, Hu Liu, Tao Liu, Ning Wang, and Zhanhu Guo. "Energy conversion technologies towards self-powered electrochemical energy storage systems: the state of the art and perspectives." Journal of Materials Chemistry A 5, no. 5 (2017): 1873–94. http://dx.doi.org/10.1039/c6ta09726j.

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Suvorova, IRINA. "MEDIA MYTHS ABOUT KALEVALA AND REALITY: A CULTURAL APPROACH." Studia Humanitatis 19, no. 2 (October 2021): 33–37. http://dx.doi.org/10.15393/j12.art.2021.3724.

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The article deals with the problem of the truth of modern media myths using specific information materials about Kalevala, the homeland of classical Karelian mythology. The study was conducted in two stages: the empirical stage was carried out during a comprehensive research expedition of the Humanitarian Innovation Park of Petrozavodsk State University to the Kalevala National District of Karelia, while the second stage was implemented during the office processing of the collected data. Sociological survey and in-depth interview, as well as the analysis and comparison of media myths and classical myths were used as research methods. The second stage of the study led to some generalizations and conclusions. As a result of the study, essential functions performed by media myths in modern culture were identified; six media myths about Kalevala were verified; each myth’s content and its reflection in reality were analyzed. Special attention was paid to the transformation of the classical Karelian myth of Sampo into a modern media myth verified in this study. All in all, the article presents conclusions about the conformity of modern media myths with the provisions of Aleksey Losev’s mythological theory and summarizes the cultural and creative function of modern media mythology.

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P.S, Moovendhan. "Regionalism and mythology in 'Sancharam' Novel." International Research Journal of Tamil 3, S-1 (June 13, 2021): 114–22. http://dx.doi.org/10.34256/irjt21s118.

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The use of literature is informative and instructive. Sangam songs became classical as they spoke of land and time. The novel 'Sancharam' was taken up for study in a way that exposes the nature biographical jurisprudence based on the tiṇaikkōṭpāṭṭu theories prioritized by the Sangam literature. The novel highlights the status of the traditional art of music of the South in the Karisal area and the position of the arts in relation to the fertility of the soil. Esra the novel 'Sancharam' was written by S. Ramakrishnan, popularly known as. In this book, the author has recorded that every person in the Karisal region, which is full of problems such as poverty, infertility, caste, religion, domination, politics, rule and power, is full of local characteristics and myths related to that land. The article sets out to tell the story of the Karisal myth told by the narrator through the novel and the biological properties that are realized through it.

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Antoinette, Michelle. "Monstrous Territories, Queer Propositions: Negotiating The Asia Pacific Triennial of Contemporary Art, between Australia, the Philippines, and Other (Island) Worlds." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 54–85. http://dx.doi.org/10.1163/23523085-00302004.

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For the 8th Asia Pacific Triennial of Contemporary Art (apt) (2015–16), Sydney-based artists Justin Shoulder and Bhenji Ra collaborated to present Ex Nilalang, a series of filmic and live portraits exploring Philippine mythology and marginalized identities. The artists’ shared Filipino ancestry, attachments to the Filipino diasporic community, and investigations into “Philippine-ness” offer obvious cultural connections to the “Asia Pacific” concerns of the apt. However, their aesthetic interests in inhabiting fictional spaces marked by the “fantastic” and the “monstrous”—alongside the lived reality of their critical queer positions and life politics—complicate any straightforward identification. If the Philippine archipelago and island continent of Australia are intersecting cultural contexts for their art, the artists’ queering of identity in art and life emphasizes a range of cultural orientations informing subjectivities, always under negotiation and transformation, and at once both the product of and in excess of these (island) territories.

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Schneider, Birgit. "Klangteppiche. Transmediale Verhältnisse zwischen Weberei und Musik." Zeitschrift für Medien- und Kulturforschung 6, no. 1 (2015): 133–58. http://dx.doi.org/10.28937/1000106436.

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Ausgehend von der griechischen Mythologie werden die vielfältigen Beziehungen zwischen Singen und Weben, dem Flechttanz und den strukturellen Ähnlichkeiten von Notationsformen und Steuerungsprinzipien in Musik und Weberei ausgelotet. Es zeigt sich, dass das Verhältnis der Zeitkunst Musik und der Raumkunst Weberei weit über das hinausweist, was sich im bloß metaphorischen Sprechen von >Klanggeweben< abzeichnet. Die Beziehung zwischen Kunstformen und Medien bringt vielmehr mythischspirituelle Ebenen zum Ausdruck. Die Umwandlung von Geweben in Musik respektive Musik in Weberei wiederum macht das kreative Potential der Transposition fruchtbar. </br></br>Based on Greek mythology, the multiple relationships between singing and weaving, »Flechttanz« (»weaving dance«) and the structural similarities of forms of notation and principles of control in music and weaving are explored. It is found that the relationship between music (as a temporal art) and weaving (as a spatial art) goes far beyond that which the metaphor of »sound tissues« points at. Rather, the relationship between art forms and media expresses mythical and spiritual levels. The transformation of tissues in music or, respectively, music in tissues, makes the creative potential of transposition productive.

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Yang, Yixuan. "The Embodiment and Interpretation of Greek Mythology in The Renaissance: Analyzing Perseus with The Head of Medusa." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 603–7. http://dx.doi.org/10.54097/tjamp162.

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Greek mythology had a significant influence on the arts and literature in the Renaissance. From the epic poems of Iliad and Odyssey and the ancient Theogony, to the well-known plays of Greek tragedy and modern adaptations of the gods and heroes in both literature and screens, Greek mythology is foreign to no one. This dissertation aims to discuss the embodiment and the inventive interpretation of Greek mythology in a piece of Renaissance artwork Perseus with the head of Medusa. It looks into the original story from Hesiod’s Theogony and Ovid’s Metamorphoses and analyzes the symbolic influence of classical traditions. Expanding the contextual perspectives puts the artwork on a wider stage of the society of the time and examines the semiotics within this sculpture that show the unique Renaissance interpretation. The Renaissance concept about secularism, rationalism, and individualism is also explained through the iconography analysis and the comparison with the ancient artwork. With the help of useful references, this dissertation incorporates aspects like art, mythology, literature, politics, social psychology, and ideology to offer some knowledge of the sculpture by Cellini as well as the Renaissance world.

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Legret, Mathilde. "The Vocational Regime in Art: On Myths and Performativity." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 41–47. http://dx.doi.org/10.5617/jea.4886.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay analyzes the development and mythology behind the notion of 'vocation' within the art world, while using the case of the Viennese artist Ursula Hübner. It argues that it is not only art institutions and the society, but also artists themselves who are complicit in the reproduction and valorization of the myth of vocation in art.

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De Nigris, Ornella. "Continuum Generation by Generation: The representation of Chinese traditions at the China Pavilion of the 57th Venice Biennale." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 343–66. http://dx.doi.org/10.1386/jcca_00011_1.

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Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.

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Sprecher-Uebersax, Eva. "The stag beetle Lucanus cervus (Coleoptera, Lucanidae) in art and mythology." Revue d'Écologie (La Terre et La Vie) 10, no. 1 (2008): 153–59. http://dx.doi.org/10.3406/revec.2008.1472.

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Ro’ziyeva Dilfuza Salimboyevna. "Peculiarities of the intellectual novel." International Journal on Integrated Education 3, no. 9 (September 17, 2020): 174–76. http://dx.doi.org/10.31149/ijie.v3i9.615.

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The distinctive features of this scientific article intellectual novel is that it is an artistic synthesis of other art forms, a combination of mythology and philosophy realism and magic realism science fiction. A comparative study of the work of Oscar Wilde and Isajon Sultan.

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Harrod, James B. "A post-structuralist revised Weil–Lévi-Strauss transformation formula for conceptual value-fields." Sign Systems Studies 46, no. 2/3 (November 19, 2018): 255–81. http://dx.doi.org/10.12697/sss.2018.46.2-3.03.

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The structuralist André-Weil–Claude-Lévi-Strauss transformation formula (CF), initially applied to kinship systems, mythology, ritual, artistic design and architecture, was rightfully criticized for its rationalism and tendency to reduce complex transformations to analogical structures. I present a revised non-mathematical revision of the CF, a general transformation formula (rCF) applicable to networks of complementary semantic binaries in conceptual value-fields of culture, including comparative religion and mythology, ritual, art, literature and philosophy. The rCF is a rule-guided formula for combinatorial conceptualizing in non-representational, presentational mythopoetics and other cultural symbolizations. I consider poststructuralist category-theoretic and algebraic mathematical interpretations of the CF as themselves only mathematical analogies, which serve to stimulate further revision of the logic model of the rCF. The rCF can be used in hypothesis-making to advance understanding of the evolution and prehistory of human symbolic behaviour in cultural space, philosophical ontologies and categories, definitions and concepts in art, religion, psychotherapy, and other cultural-value forms.

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Journal articles on the topic 'Art and mythology'

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