Relevant bibliographies by topics / German Mythology

Academic literature on the topic 'German Mythology'

Author: Grafiati
Published: 10 March 2023
Last updated: 30 July 2024

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Journal articles on the topic "German Mythology"

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Vinogradov, Vladimir V. "Transformation of the Archaic Myth and the Discourse of Power in Alexander Sokurov’s “Moloch”." Journal of Flm Arts and Film Studies 10, no. 4 (December 15, 2018): 62–68. http://dx.doi.org/10.17816/vgik10462-68.

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The article deals with the transformation of myth in A. Sokurovs Moloch. The author investigates the mountain mythology in German culture and connects it with the neo-mythology created by A. Sokurov. He also analyses the three incarnations of Moloch: Adolf Hitler, the Nazi ideology and entropy.
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Gogröf-Voorhees, Andrea. "Mythology, Madness and Laughter: Subjectivity in German Idealism (review)." German Studies Review 35, no. 1 (February 2012): 155–56. http://dx.doi.org/10.1353/gsr.2012.a465671.

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Sarakaeva, Elina A. "The Song of Nibelungen Bodies and How They are Described, Idealised and Eroticized. Part I. Der Helt Was Wol Gewahsen..." Corpus Mundi 1, no. 1 (April 20, 2020): 112–34. http://dx.doi.org/10.46539/cmj.v1i1.7.

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The discovery of the medieval heroic epic “Das Nibelungenlied”in the XIX century Germany coincided with the search for new national mythology and symbols within the movement of Romantic medievalism. The heroic epic got a country-wide recognition asa great literary work that was supposed to serve as a source of German values and to reflect the German national character. With this approach the characters of the epic were re-constructed as embodiments of these German values, as ideals to follow. The article analyses the iconography of these characters, the “nibelungs”: the way they were visualized and depicted in fine arts and fiction and what ideological concepts were ascribed to their bodies and appearances. The first part of the article compares the descriptions of Nibelungen characters in the works of German authors of XIX-XXI centuries and compares them to the descriptions in the original text of the poem to see how cultural codes are constructed and interpreted through visualization of human bodies.
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Wolski, Paweł. "Rekonstruowanie żydowskiego miasta. Nils Roemer: German City, Jewish Memory. The Story of Worms. Waltham, Brandeis University Press, 2010, pp. 316. Michael Meng: Shattered Spaces. Encountering Jewish Ruins in Postwar Germany and Poland." Narracje o Zagładzie, no. 1 (December 31, 2015): 338–41. http://dx.doi.org/10.31261/noz.2015.01.27.

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Reconstructing a Jewish town. Nils Roemer: German City, Jewish Memory. The Story of Worms. Waltham, Brandeis University Press, 2010, pp. 316. Michael Meng: Shattered Spaces. Encountering Jewish Ruins in Postwar Germany and Poland. Cambridge, Harvard University Press, 2011, pp. 351. The text briefly compares two books: Nils Roemer’s German City, Jewish Memory. The Story of Worms and Michael Meng’s Shattered Spaces. Encountering Jewish Ruins in Postwar Germany and Poland. Both represent fascinating approaches to the process of the reconstruction of the Jewish identity as an important part of the European urban culture destroyed during WWII. By discussing these issues on the examples of Worms (Roemer) and Warsaw, Wrocław, Potsdam, Berlin (Meng) both, albeit in different ways, restore the Jewish identity of these cities not only by approaching the history of historical or architectural landmarks, but also by discussing some less material, discoursive memory markers such as mythology, tourism, politics etc.
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Králová, Magda. "Classical or Old Norse myth? German and Danish approaches to the use of myth in the modern literature at the turn of the 19th century." Acta Antiqua Academiae Scientiarum Hungaricae 61, no. 1 (May 17, 2022): 75–86. http://dx.doi.org/10.1556/068.2021.00008.

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Abstract In the study, I provide a comparative overview of the aesthetical debate that took place at the turn of the 18th and 19th century in Germany and Denmark concerning the use of the Old Norse versus the classical mythology in literature. I discuss Johann Gottfried Herder’s ideas on this topic, expressed in his work Vom neuern Gebrauch der Mythologie (1767) and especially in his dialogue Iduna oder der Apfel der Verjüngung (1796), with focus on the following question: Does the rejuvenating potential of the Norse myth as suggested by Herder in Iduna, allow any room for the classical inspirations in modern literature? Herder’s view will provide a starting point of the comparison for the cultural situation in Denmark where the University of Copenhagen announced in 1800 a prize question on aesthetics “Would it benefit Northern polite literature if ancient Northern mythology were introduced and generally accepted by our poets in place of its Greek counterpart?”. The entries in this contest represented the view of the younger generation, namely Adam Oehlenschläger, Jens Møller and Ludvig Stoud Platou. I summarize their views and examine Herder’s influence on the debate.
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Delhey, Matthew J. "Hölderlin’s Politics of the New Mythology." Journal of Speculative Philosophy 37, no. 3 (June 2023): 369–80. http://dx.doi.org/10.5325/jspecphil.37.3.0369.

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ABSTRACT This article reevaluates Hölderlin’s social and political thought in the 1790s. Against Georg Lukács, it argues that Hölderlin’s politics of the new mythology, while utopian, are not mystical. In the Fragment of Philosophical Letters and the Oldest System-Programme of German Idealism, Hölderlin instead articulates two fundamental claims. Socially, the new mythical collectivity must elevate (erheben) the social relations produced by bourgeois society, exalting them in aesthetic-religious form, rather than sublating (aufheben) them, modifying both their form and their content. Politically, realizing this new collectivity requires transcending the state, and so is essentially revolutionary. Hölderlin’s prosaic writings thus supplement Hyperion’s romantic critique of modernity. They take as their point of departure a sober exposition of the social relations of the market emerging in Hölderlin’s time and, from within these relations, excavate a new mythical collectivity capable of suturing the fragmentary divisions of modern life.
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Plotnikova, Anna. "The specifics of Croatian folk mythology." Slavianovedenie, no. 5 (December 2021): 24–37. http://dx.doi.org/10.31857/s0869544x0017673-3.

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The article is devoted to the areal distribution of Croatian mythological characters, taking into account the general picture of folk mythology in the space of Southern Slavia. The author regards demonological images specific to the Adriatic, southern and northern parts of Croatia (including the Istrian peninsula), northwestern Croatia (often representing a single whole with the neighboring Slovenian area), Slavonia and Croats living in the environment of a foreign-cultural and foreign-speaking majority (Drava’s Croats in Hungary and Burgenland’s Croats in Austria and Hungary). The need to analyze character types considering the neighboring South Slavic regions (Bosnian, Serbian, Slovenian) is caused by the common system of distribution of cultural dialects and the corresponding terminology of folk culture in the whole South Slavic territory. As far as the geolinguistic study of folk mythology is concerned, and more broadly – cultural dialects, the ethnolinguist’s attention naturally falls on borrowings in the names of demonological characters: Italian, German, Hungarian, etc.
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Линченко, А. А. "Mythology of Time and Rhythms of Eternity: the Transformation of the Historical Culture of the Youth Movement in Germany (1900-1933)." Диалог со временем, no. 79(79) (August 20, 2022): 396–403. http://dx.doi.org/10.21267/aquilo.2022.79.79.028.

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Статья представляет собой рецензию на монографию Р.-Я. Адриаансена “The Rhythm of Eternity. The German Youth Movement and the Experience of the Past, 1900-1933”, где представлен анализ трансформации исторической культуры молодежного движения в Германии 1900–1933 гг., как в аспекте теоретических представлений о времени и истории, так и в аспекте коммеморативных практик молодежи. На основе идей Гумбрехта автор показывает, что активно формировавшаяся в начале ХХ в. историческая культура молодежного движения в Германии может быть рассмотрена как случай культуры присутствия, ориентированной на экзистенциальный опыт, космологические ритмы и пространственное восприятие событий прошлого. Вместе с тем эволюция оригинальной мифологии времени, выработанной в молодежной исторической культуре, была актуализирована политической и социально-экономической ситуацией, а молодежные движения, являясь частью «консервативной революции», стремились не столько противостоять модернистскому историческому сознанию, сколько трансформировать вектор его дальнейшего развития. На примере молодежного движения автор показывает, что историческая культура Веймарской Германии была своего рода «лабораторией экспериментов» с различными видами темпоральностей. The article is a review of the monograph by R.-J. Adriaansen (R.-J. Adriaansen. The Rhythm of Eternity. The German Youth Movement and the Experience of the Past, 1900-1933. London / New York: Berghahn Books, 2015.227 p.). The monograph analyzes the features of the transformation of the historical culture of the youth movement in Germany in the period 1900-1933, both in the aspect of theoretical ideas about time and history, and in the aspect of commemorative practices of youth. Based on the ideas of H.U. Gumbrecht's, author shows that the historical culture of the youth movement in Germany, which was actively formed at the beginning of the last century, can be considered as a case of a presence culture focused on existential experience, cosmological rhythms and spatial perception of past events. At the same time, the book shows that the evolution of the original mythology of time, developed in the youth historical culture, was updated by the current political and socio-economic situation. The book substantiates the idea that the German youth movements of 1900-1933, being part of the “conservative revolution” of German society, did not so much strive to oppose the modernist historical consciousness as to transform the vector of its further development. Using the example of the German youth movement, the author shows that the historical culture of Weimar Germany was a kind of laboratory for experimenting with various types of temporalities.
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Sokolova, Elizaveta. "BOOK REVIEW: GRIMM J. GERMANIC MYTHOLOGY : IN 3 VOL. (IN RUSSIAN TRANSLATION)." RZ-Literaturovedenie, no. 1 (2021): 33–45. http://dx.doi.org/10.31249/lit/2021.01.03.

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The Russian translation of «Germanic Mythology», a fundamental work of Jacob Grimm (1785-1863), is reviewed. The outstanding German philologist and ethnographer had not only gathered pagan beliefs of Germanic tribes and presented them with encyclopedic completeness in his influential work, but also demonstrated how deeply they are concerned with the German language. The book had been published three times in the author's lifetime (1835, 1844, 1854), the most complete edition had come soon after his death (1875-1878). In 2018 it was translated into Russian for the first time (by D.S. Kolchigin) and published in a three-volume academic edition, supplied by the extensive commentary and reference apparatus.
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Piwowarczyk, Dariusz J. "National Civil Religion in the German Empire (1871-1918)." Roczniki Teologiczne 66, no. 9 (August 27, 2019): 93–108. http://dx.doi.org/10.18290/rt.2019.66.9-7.

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The article draws on the argument presented by Carolyn Marvin and David Ingle (1996), and specifically on the thesis that nationalism can be also approached as a religious phenomenon- with its distinctive mythology, dogmas, “saints,” and ritual behavior; they term such ideological-ritual complex “national civil religion.” Using this heuristic tool, I analyze the quasi-religious content of German national ideology dominant in the Kaiserreich (1871-1918) by discussing three layers of imagery that can be distinguished in this ideological system: appropriated history as vell as Christian-Biblical and mythological-folkloric components.
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Dissertations / Theses on the topic "German Mythology"

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Mee, Simon. "Monetary mythology : the West German central bank and historical narratives, 1948-78." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:0712a31a-00e4-48ca-8b9a-a1c6768f5e7b.

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This thesis examines the emergence, and then development, of what I call 'monetary mythology', a historical narrative, or version of history, concerning the inter-war period of Germany. Following the Second World War, it was left to West German elites to establish a new federal central bank, the Deutsche Bundesbank. A three-way power struggle emerged between the existing West German central bank - the Bank deutscher Länder - the federal government and the various state governments, all vying to influence the institutions and structure of this new monetary authority. In justifying their arguments, West German elites used various lessons derived from the turbulent experiences of the inter-war era. Monetary mythology, for its part, emphasised the lessons of Germany's two inflations; and the Bank deutscher Länder, and its allies, explicitly tied these lessons to the need for an independent central bank. And though it was once challenged by other competing historical narratives in the period 1949-51, monetary mythology emerged by 1956 triumphant in the public sphere in terms of framing the parameters through which West Germans viewed their monetary history. The doctoral project at hand approaches economic history from a cultural angle. In doing so, it offers an alternative history of the Bundesbank, as well as an alternative explanation for the cultural preoccupation surrounding inflation in West Germany. The thesis explains this cultural preoccupation in institutional terms. In providing for a central bank that was independent of political instruction, the Bundesbank Law of 1957 allowed for conflicts between the federal government and central bank to emerge. These conflicts often became 'dramatised' in the public sphere, creating controversies surrounding the Bundesbank's independence, and, in turn, giving rise to circumstances in which the lessons of the two inflations continued to remain relevant, geared in support of central bank independence.
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Greineder, Daniel. "Conceptions and functions of mythology in German thought from Winckelmann to the early Schelling." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404198.

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Wiwjorra, Ingo. "Der Germanenmythos : Konstruktion einer Weltanschauung in der Altertumsforschung des 19. Jahrhunderts /." Darmstadt : Wissenschaftliche Buchgesellschaft, 2006. http://catalogue.bnf.fr/ark:/12148/cb401579105.

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Fürstenow-Khositashvili, Lily. "Anselm Kiefer – myth versus history." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16637.

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Eine der wichtigsten Aufgaben der Kunst ist es, unser kulturelles Gedächtnis zu aktivieren, zu errinnern was ist vergessen oder absichtlich in die Vergessenheit gezwungen wurde, selbst wenn das alte Wunde bluten lasst und traumatisch erscheint. Jedes Mal ist das Element der Kritik die ausschlaggebende Komponente der künstlerischen Arbeit, sie charakterisiert nicht nur den Künstler, und die Zeit in der er/sie lebt, sondern auch den Zuschauer, genauer: wie weit ist der Künstler bereit zu gehen und wie weit sind die Zuschauer bereit ihm zu folgen, im Rückblick manchmal mehr ersteres als letzteres. In meiner Arbeit analysiere ich die Aspekte von Mythologie, Geschichte und deren sozio-politische Relevanz in den Arbeiten von Anselm Kiefer, der Künstler der mit seinen Werken unsere Wahrnehmung der Geschichte, vor allem der deutschen Geschichte, beeinflust und in Frage gestellt hat.
It is one of the major tasks of art to revive our cultural memory and to sharpen our senses, to remind whatever has been forgotten or is being purposefully given to oblivion and to predict whatever the future might have in store even if it causes old wounds bleed anew. Each time the element of critique, being one of the crucial components of artistic work, characterises not only the artist, the time he/she lives in, but also the spectator: precisely, how far the artist is prepared to go and how much the spectator is prepared to accept, in retrospect more the latter than the former. My work analyses the problems of mythology, history and their socio-political relevance on the examples of works by Anselm Kiefer, the artist whose work is irrevocably related to history, German history in the first place, the artistic means of remembrance as well as the role of mythology in our collective memory.
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Anderson, Kirsten. "National Powers of Belief: Folklore, Mythology and Festival in Nazi Germany." TopSCHOLAR®, 1999. http://digitalcommons.wku.edu/theses/740.

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In this thesis, I examine the relationship between folklore and nationalism in nineteenth- and twentieth-century Germany. More specifically, I focus on how the Nazis used folklore and the work of folklorists in their propaganda. The first chapter documents the development of nationalism and the creation of the discipline of folklore based on the theories of Johann Gottfried Herder (1744-1803) and Wilhelm Riehl (1823-1897). Herder wanted the Germans to rediscover their national heritage through folklore materials, and Riehl argued that folklore and folklorists should serve the Fatherland. In the 1930s, the Nazi Party used the discipline of folklore as a tool for their cultural policies and ideological education because the discipline had such close associations with nationalism and anti-Semitism. In Chapter Two, I trace the development of the National Socialist ideology from the conservative revolution and the Volkisch movements of the nineteenth century. National Socialism was akin to a religion and in Chapter Three, I document the careers of two of its "priests": Alfred Rosenberg, the philosopher of the NSDAP, and Heinrich Himmler, head of the SS. Both men created folklore organizations and employed folklorists to support the Nazi ideology. In Chapter Four, I analyze the festival theory of two folklorists employed by Rosenberg and then examine the Nazi festival calendar, which was based on both traditional holidays and the new celebrations of the Nazi Party. The annual Reichsparteitag (Reich Party Day), held in 1923, 1926, 1927, 1929, and then from 1933 to 1938, was the most important holiday on the Nazi calendar and I analyze it as a folk festival in Chapter Five, using the theories of Victor Turner, Alessandro Falassi, and Barbara Myerhoff. In addition, I use the theories of John Dorst concerning ethnography in a postmodern society and performance folkloristics to analyze the verbal art and performances at the rallies. Finally, I conclude with an overview of how German Volkskunde has changed after the Nazi era and discuss how the issue of folklore and ideology in Germany relates to the American discipline of folklore with a brief look at American festivals like the White Top Music Festival in Virginia (1931-1939) and the current Festival of American Folklife in Washington D.C. Three themes inform this analysis: 1.) Both folklore studies and National Socialism have a common background in the issues of the nineteenth century: nationalism, irrationalism, and the notion that Germany was a nation with a special destiny; 2.) The Nazi Party was unique in comparison with other political organizations because it made such conscious use of folklore materials. The Nazis' active use of folklore in all of its forms attracted ordinary Germans who had suffered great losses in the First World War, felt threatened by the radical modernity of the Weimar Republic, suffered through the Depression, and wanted to feel good about their nation again; and 3.) By examining specific issues like folklore and festivals, we can gain a deeper understanding of why Germans accepted Adolf Hitler and National Socialism.
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Berger, Emile. "Germanic mythology in Richard Wagner's 'Der Ring'." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33873.

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Richard Wagner, in writing the text which would become the libretto of his four operas comprising the Ring was influenced greatly by German Mythology as well as old Norse writings. His main sources are the Volsungensaga, the Thidreksaga and the Nibelungenlied. Certain portions of the Ring follow closely the events described in some of the sagas, other portions have been changed and elaborated to achieve theatrical effect. I have endeavoured to explain the differences between the sources and the finished masterpiece. Whether his version of the tales was to ensure good theatre or whether he felt that he was improving on the originals is a moot point. The similarities are sufficient to prove that he had totally immersed himself in the literature available and no doubt felt himself to be a worthy protagonist of this culture. There is no doubt that his music is a masterpiece which may be enjoyed with or without any depth of knowledge of its origins.
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Avis, Robert John Roy. "The social mythology of medieval Icelandic literature." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2837907c-57c8-4438-8380-d5c8ba574efd.

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This thesis argues that the corpus of Old Norse-Icelandic literature which pertains to Iceland contains an intertextual narrative of the formation of Icelandic identity. An analysis of this narrative provides an opportunity to examine the relationship between literature and identity, as well as the potency of the artistic use of the idea of the past. The thesis identifies three salient narratives of communal action which inform the development of a discrete Icelandic identity, and which are examined in turn in the first three chapters of the thesis. The first is the landnám, the process of settlement itself; the second, the origin and evolution of the law; and the third, the assimilation and adaptation of Christianity. Although the roots of these narratives are doubtless historical, the thesis argues that their primary roles in the literature are as social myths, narratives whose literal truth- value is immaterial, but whose cultural symbolism is of overriding importance. The fourth chapter examines the depiction of the Icelander abroad, and uses the idiom of the relationship between þáttr (‘tale’) and surrounding text in the compilation of sagas of Norwegian kings Morkinskinna to consider the wider implications of the relationship between Icelandic and Norwegian identities. Finally, the thesis concludes with an analysis of the role of Sturlunga saga within this intertextual narrative, and its function as a set of narratives mediating between an identity grounded in social autonomy and one grounded in literature. The Íslendingasögur or ‘family sagas’ constitute the core of the thesis’s primary sources, for their subject-matter is focussed on the literary depiction of the Icelandic society under scrutiny. In order to demonstrate a continuity of engagement with ideas of identity across genres, a sample of other Icelandic texts are examined which depict Iceland or Icelanders, especially when in interaction with non-Icelandic characters or polities.
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Schmidt, Ina. "Der Herr des Feuers : Friedrich Hielscher und sein Kreis zwischen Heidentum, neuem Nationalismus und Widerstand gegen den Nationalsozialismus /." Köln : SH-Verl, 2004. http://www.loc.gov/catdir/toc/fy054/2005355973.html.

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Roth, Isabel L. "From the Attic to the Cosmos: Myth in the Art of Anselm Kiefer 1973-2007." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/122.

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Anselm Kiefer was born in Germany, 1945—the year of Adolf Hitler’s suicide, and subsequently, the end of World War II. His own beginnings were shrouded by a national “repression” of history. This repression was at odds with Kiefer’s needs to establish his own origin. For this reason, the spirituality in his earlier work is often overshadowed by its subject—Nazi Germany. This thesis will look back on Kiefer’s work through the lens of mythology in an effort to re-evaluate his earlier art within the context of his works since 1990. From the 1970s to the present, Kiefer has drawn from mythology to find links between personal and universal human experience. We begin by examining Kiefer’s controversial Attic Paintings of 1973. In the Attic Paintings, German and Christian mythology helped Kiefer understand his origin as a post-war German artist. Kiefer then turned his attention to myths from outside cultures throughout the 1980s. We will look closely at three paintings from the 1980s that incorporate Greek, Judaic, and Egyptian mythology in an effort to understand Kiefer’s larger goals in broadening his mythological base. Following this discussion, we will examine two paintings from the 1990s and his 2007 permanent installation at the Louvre Museum. These selected works serve to illustrate how Kiefer presented his own cultivated, personal mythology under the stars in his still ongoing cosmic series. The 1990s mark Kiefer’s broadest expansion yet; in a sense, he went from “the attic to the universe” over the course of three decades.
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Pekkarinen, Anu. ""Minnecllîche Meit" vs "Tíuvelés WIP" : increasing female property rights and the courtly contradictions manifested by the figure of Brünhild /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422950.

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Books on the topic "German Mythology"

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Simek, Rudolf. Lexikon der germanischen Mythologie. 3rd ed. Stuttgart: Alfred Kröner, 2006.

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Mackenzie, Donald Alexander. German myths and legends. New York: Avenel Books, 1985.

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Grimm Brothers. Teutonic mythology. Mineola, N.Y: Dover Publications, 2004.

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Slavoj, Žižek, ed. Mythology, madness, and laughter: Subjectivity in german idealism. London: Continuum, 2009.

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Evan, Torner, and Lenshyn Victoria, eds. Myth: German and Scandinavian studies. Newcastle upon Tyne, UK: Cambridge Scholars Pub., 2009.

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Dorothea, Coenen, Holzapfel Otto, and Verlag Herder Lexikonredaktion, eds. Herder Lexikon: Germanische und keltische Mythologie. 4th ed. Freiburg: Herder, 1990.

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Göll, Hermann. Illustrierte Geschichte der Mythologie. Eltville am Rhein: Bechtermünz Verlag, 1991.

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Botheroyd, Sylvia. Lexikon der keltischen Mythologie. München: Diederichs, 1992.

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Juha, Pentikäinen, Schmalzriedt Egidius 1935-, and Haussig Hans Wilhelm, eds. Götter und Mythen in Zentralasien und Nordeurasien. Stuttgart: Klett-Cotta, 2004.

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Gerhard, Fink. Who's who in der antiken Mythologie. München: Deutscher Taschenbuch Verlag, 1993.

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Book chapters on the topic "German Mythology"

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Schuppener, Georg. "The far-right use of Norse-Germanic mythology." In The Germanic Tribes, the Gods and the German Far Right Today, 37–74. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003206309-3.

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Stone, Jon R. "Preface to Chips from a German Workshop (1867)." In The Essential Max Müller On Language, Mythology, and Religion, 69–80. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-08450-7_4.

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Liamin, Sergej. "5.1. Images and Imageries of Norse Mythology in German Sentimentalism and Romanticism: From Herder to Heine." In The Pre-Christian Religions of the North, 317–30. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.pcrn-eb.5.115261.

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Horyna, Břetislav. "Prométheus například. Moc mýtu, distance a přihlížení podle Hanse Blumenberga." In Filosofie jako životní cesta, 130–45. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9458-2019-8.

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The Study Prometheus, for example loosely follows up the central theme of Hans Blumenberg’s theory of myth and mythology, the character of Prometheus and Promethean conceptions in scientific as well as imaginative literature (poetry and drama). The aim is not an elaborate reflection of all the variations on Promethean themes that were summarized in Blumenberg’s epochal book Work on Myth (1979). The author rather selects some themes from the works on the myth about Prometheus in Classical Greek literature (Hesiod, Aeschylus) and, at the turn of modernism, in German movement Sturm und Drang (Goethe). Most attention is paid to a fictional figure known as actio per distans (action at distance, with keeping a distance) and its variations from the distance between people and gods through the distance between people to the distance of an ageing poet from spirit of the age (Zeitgeist), to which he no longer belongs.
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5

Damiens, Margot. "‘Reconciling’ Ancient Paganism and Modern Protestantism: On the Scholarly Reception of Old Norse Mythology in the German Romantic Period." In Acta Scandinavica, 49–65. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.as-eb.5.120086.

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6

Leeming, David. "Germanic Mythology." In From Olympus to Camelot, 101–22. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195143614.003.0006.

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Abstract The term Germanic mythology refers to the gods and heroes of European peoples that include Germans, Scandinavians, and Anglo-Saxons. These are people whose languages—one of which would evolve into Old English and then, with other influences, into Middle and Modern English—derive from the same Indo-European branch. Terms commonly applied to the most northern of the Germanic peoples are Norse and, during the ninth, tenth, and eleventh centuries, Viking. Germanic mythology has a certain unity of theme and narrative but reflects the conditions of several cultures “contaminated” in various degrees by surrounding realities. Thus, the Anglo-Saxon epic Beowulf in Old English contains elements of Germanic mythology, as do the later German epic the Nibelungenlied, the Scandinavian Volsunga Saga, and especially the Eddas of Iceland. But all these works bear the marks and influences of the Christian era in which they took literary form.
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7

Sturma, Dieter. "Politics and the New Mythology." In The Cambridge Companion to German Idealism, 314–35. Cambridge University Press, 2017. http://dx.doi.org/10.1017/9781316556511.017.

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8

Sturma, Dieter. "Politics and the New Mythology." In The Cambridge Companion to German Idealism, 219–38. Cambridge University Press, 2000. http://dx.doi.org/10.1017/ccol0521651786.012.

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9

"THE NEW MYTHOLOGY OF GERMAN IDEALISM." In Plato and the Mythic Tradition in Political Thought, 149–88. Harvard University Press, 2020. http://dx.doi.org/10.2307/j.ctv18kc13m.7.

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10

"English-German Glossary." In Historical–critical Introduction to the Philosophy of Mythology, 221–29. SUNY Press, 2012. http://dx.doi.org/10.1515/9780791479964-016.

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