Journal articles on the topic 'German Mythology'
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1
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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Tybjerg, Tove. "Wilhelm Mannhardt - A Pioneer in the Study of Rituals." Scripta Instituti Donneriani Aboensis 15 (January 1, 1993): 27–38. http://dx.doi.org/10.30674/scripta.67204.
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In the history of the study of religion the German folklorist Wilhelm Mannhardt (1831-1880) was the first to undertake a systematic study of rituals. This was not because of a specific interest in rituals; Mannhardt's interests lay with mythology, and all his life he regarded himself as a mythologist. In focusing on mythology Mannhardt was in tune with the spirit of his age, but to undertake a systematic study of rituals was something new. At the time the novelty of this approach went practically unnoticed, and Mannhardt himself barely reflected on method. There are complicated relations between a scholar's ideas and the ideas of his time, between what he intends to do and what he actually does and achieves.
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Oboladze, Tatia. "Wine, Opium, and Hashish in Georgian and European Symbolism." Ars & Humanitas 16, no. 1 (December 22, 2022): 219–30. http://dx.doi.org/10.4312/ars.16.1.219-230.
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The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.
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Buck, Nikolas. "„So muß Loki gelacht haben“: Zum Einfluss nordischer Mythologie auf Arno Schmidts Juvenilia." European Journal of Scandinavian Studies 53, no. 2 (October 1, 2023): 255–68. http://dx.doi.org/10.1515/ejss-2023-2017.
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Abstract Arno Schmidt is one of the most thoroughly researched German post-war authors. However, there is a significant gap with regard to his stationing in Øverås, Norway, as part of the German occupation troops during the Second World War. This applies not only to Schmidt’s experiences in Norway, but also to the influence of this period on his literary work. Accordingly, I will pursue the question of how Schmidt used his ’Norwegian years’ in his literary work. In particular, I will consider the influence of Nordic mythology on the group of the so-called “Juvenilia”, four of which originated in Norway.
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Epstein, Catherine, and Alan L. Nothnagle. "Building the East German Myth: Historical Mythology and Youth Propaganda in the German Democratic Republic, 1945-1989." American Historical Review 106, no. 2 (April 2001): 672. http://dx.doi.org/10.2307/2651773.
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Walinski-Kiehl, Robert. "Reformation History and Political Mythology in the German Democratic Republic, 1949-89." European History Quarterly 34, no. 1 (January 2004): 43–67. http://dx.doi.org/10.1177/0265691404040008.
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Rius, Carles. "Güell Pavilions of Antoni Gaudí as an example of new mythology." De Arte. Revista de Historia del Arte, no. 22 (December 1, 2023): 225–45. http://dx.doi.org/10.18002/da.i22.7603.
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The Güell Pavilions are known for being the first work that Antoni Gaudí built for the person that would become his main patron, Eusebi Güell. For years, these buildings have been considered to have some functional roles, and to contain some sporadic references to the L’Atlàntida, a poem written by Jacint Verdaguer. In this paper, however, I will argue that this work of Gaudí is more than this, since L’Atlàntida was already a good example of the idea of a new mythology, and Gaudí intertwined these literary references with “aesthetic geometry”, which had been reconstructed by the German artist Peter Lenz. I will show where and how this geometry is present in the Güell Pavilions. As a result, these buildings will reveal as an organic work, and a good example of the idea of a new mythology applied to plastic arts.
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Skurnowicz, Joan S. "Soviet Polonia, the Polish State, and the New Mythology of National Origins, 1943-1945." Nationalities Papers 22, S1 (1994): 93–110. http://dx.doi.org/10.1017/s0090599200022169.
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In a time of international crisis, a small group of Polish Communist intellectuals on Soviet territory, with approval from the Stalinist government, harnessed the national myths of a people faced with total destruction in the name of fascist Aryan supremacy. These intellectuals, ethnic Poles and Polish Jews, rejected, revitalized, or revolutionized old national myths and created a new mythology. They coordinated their efforts closely with the anti-Hitlerite National Front Strategy adopted by the Comintern following the German invasion of the Soviet Union in June, 1941. They sincerely, albeit naïvely, believed that their creation manifestly assured the Poles of their national identity. They also believed that the new mythology promised not only the survival of an honorable people but also the rebirth of their state in a brighter future in solidarity with fellow Slavs, and ultimately with the Stalinist Soviet state which they admired.
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Ermolaeva, Elena L. "St. Petersburg Mythology in an Ancient Greek Poem by F. B. Graefe on the 100-year Jubilee of the Imperial Academy of Sciences (1826)." Philologia Classica 15, no. 2 (2020): 371–93. http://dx.doi.org/10.21638/spbu20.2020.212.
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This article deals with a poem by academician F. B. Graefe (1780–1851) written in ancient Greek elegiacs (424 lines) with authorized German poetic translation en regard (1826). The poem was dedicated to the 100-year jubilee of the Imperial Academy of Sciences and printed in a small number of exemplars (für Wenige). The poem has never been republished until now. The article provides the Introduction (54 lines), the Epilogue, and selected passages in Greek and German, with Russian translation and commentaries. The Introduction describes the foundation of St. Petersburg and the Academy by Peter the First. Graefe’s stock images (the marshes on which St. Petersburg appeared; a poor Finnish fisherman with his old net; a tsar demiurge on the bank of the river; etc.), motifs (nature and civilization) and formulas (before — now; one hundred years later; etc.) reflect the official, cosmological St. Petersburg mythology. Three other selected passages of the poem describe the paleontological and Egyptian collections of the Academy museums. The author discusses Graefe’s possible sources, the historical context of his poem, and responces to it in Germany. Graefe’s poem in ancient Greek is a testimony of the Neuhumanismus in Russia.
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Fedyukova, Olga V. "Mythology in literary work (on the example of analysis of German Romantics’ works)." Sibirskiy filologicheskiy zhurnal, no. 4 (December 1, 2006): 27–31. http://dx.doi.org/10.17223/18137083/17/6.
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Porfirieva, A. "The Middle of the Distance." Versus 2, no. 6 (September 16, 2023): 6–19. http://dx.doi.org/10.58186/2782-3660-2022-2-6-6-19.
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In the perception of Richard Wagner's Lohengrin and in scholarly discourse on it, the legend associated with the tales of the Knights of the Grail prevails. But the romantic element in opera had a political and even revolutionary meaning for Wagner. The historical layer of the operatic action in Lohengrin draws on the Deeds of the Saxons by Widukind of Corvey and recounts the birth of the Yrst Germanic parish, united by Henry the Fowler, the “Father of the Fatherland” — and the Yrst Germanic emperor. The Romantic generation of German revolutionaries — Wagner's peers and associates — excavated the ancient history of Germany and German mythology from old manuscripts and established it in the minds of the aedgling nation. Lohengrin was the Yrst German opera to give artistic life to the revolutionary and patriotic ideas of the German Renaissance. The peculiarity of the opera lies in the interplay of the original Wagnerian principles of composition with operatic forms of Italian origin. The composer would later cite Johann Sebastian Bach as the ideal example of the “Germanic” in his ludicrous French wig and his fundamentally Italian style. By combining the rhetorical principle directly derived from Bach's music with a variety of German melodic sources from chorales to Romantic songs, Wagner had fully mastered his musical language. This article examines the compositional symmetries, supports, and arches that build the integral structure, new duet forms, and other Yndings that had a continuation in operas aber Lohengrin, as well as the main feature of this work: the combination of lyricism and tragedy, history and myth, which opens the way to countless interpretations of meaning on the modern opera stage.
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Holmgren, Derek. "Managing Displaced Populations: The Friedland Transit Camp, Refugees, and Resettlement in Cold War Germany." Central European History 53, no. 2 (June 2020): 335–52. http://dx.doi.org/10.1017/s0008938920000138.
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ABSTRACTThis article examines the resettlement of displaced populations in both postwar German states from 1945 to 1955. Specifically, it investigates who were the displaced populations circulating between the occupation zones, and what methods the German civil governments and occupying military authorities used to aid and resettle them. Through a case study of the Friedland refugee transit camp, this article argues for an expansive understanding of the term “refugee” to include more groups, ranging from Displaced Persons and German expellees to returning prisoners of war and civil internees. It further contends that transit camps were the linchpin in a system to render humanitarian aid, bring refugee movement under state control, and resettle the displaced. Analysis of camp operations and resident populations reveals the state as humanitarian actor in addition to international and charitable organizations, while also complicating the Cold War mythology of Friedland as the “Gateway to Freedom.”
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Madarasz, J. "Book Review: Building the East German Myth--Historical Mythology and Youth Propaganda in the German Democratic Republic, 1945-1989." German History 18, no. 4 (October 1, 2000): 547–48. http://dx.doi.org/10.1177/026635540001800432.
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Shalaghinov, Borys. "On History of Romantic Overturn in Modernist Mythology." Академічний журнал "Слово і Час", no. 5 (May 29, 2019): 29–40. http://dx.doi.org/10.33608/0236-1477.2019.05.29-40.
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The paper deals with a Greek myth adopted by modern scholars, which is hypothetically treated not as an authentic picture of antiquity, but philosophical construct, developed by early German romantics on the basis of Kantian discourse. The myth-narration was understood as a way of mental transformation of the hostile environment (embodied by the rite of human sacrifice) in terms of its humanization, aesthetization, heroization, intellectualization; the purpose of individual existence was interpreted as a unity of nature, society and the person, immersion in the ‘myth-environment’ being a condition for such unity. A further evolution of the myth took place due to civilizational shifts in Europe, which ‘fragmented’ human unity and destroyed the original unity of mythology. The modernist myth (Joyce, Messiaen, Bachelard) gave place to deintellectualization, particularization and desocialization of public life that urged to turn towards the blind nature ‘before civilization’ and stimulated indifference about the last preceding stages of culture. The life force was understood as returning to pure instinct that indicates the presence of nature in man. The distinction between sophisticated connoisseurs of culture and the bourgeois ‘mass’ became especially sharp; the ‘myth’ got really destructed by transferring it from actual life to the setting of everyday comfort, bypassing the spiritual state of the individual. The ‘myth of intertextuality’ (book myth, new-Alexandrian myth) is characteristic of the period of decline, as it is oriented not towards a living person and ‘life force’, but towards narration. This tendency was most vividly reflected in N. Frye’s mythological theory (about literature as myth-making).
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Kuznetsov, I. V. "Mythology of Myth as the Foundation of Postmodern Culture." Bulletin of Kemerovo State University 24, no. 1 (April 11, 2022): 42–49. http://dx.doi.org/10.21603/2078-8975-2022-24-1-42-49.
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The article questions the appropriateness of using the concept of myth in relation to the XX century culture. The term originated in the German Romantic philosophy and philology. The current use of the concept of myth is mostly connected with the irrational side of reality. The concept of neo-mythologism can be applied to the epoch of Modernism because it preserved a substantial understanding of the myth. Post Modernism, however, understood the myth in a formal way, as an expressive means. This understanding was adopted by semiology and structural anthropology. In the contemporary society, the so-called quasi-myths have become an effective tool of controlling mass consciousness. Unsubstantial quasimyths tend to merge into a simulacrum of the mythology of myth. The article describes this simulacrum and reveals that neo-mythologism as a substance-oriented mentality is not peculiar to Post Modernism. Philologically speaking, today’s myth concerns the key issue of historical poetics, i.e. the relationship between tradition and creativity, where individual creativity is a statement of tradition and national myth. This article was originally published in English as a monograph chapter: Kuznetsov I. V. Mythology of Myth in Twentieth-Century Culture. Philological sciences: Modern scholarly discussions. LvivToruń: Liha-Pres, 2019. P. 64–78.
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Hahn, H. J. "Venus versus Virgin: The Relationship between Classical and Christian Mythology in German Romantic Literature." Oxford German Studies 22, no. 1 (January 1993): 111–33. http://dx.doi.org/10.1179/ogs.1993.22.1.111.
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Safron, E. A. "The Legacy of German Romanticism in Russian Urban Fantasy." Nauchnyi dialog, no. 12 (December 31, 2020): 196–207. http://dx.doi.org/10.24224/2227-1295-2020-12-196-207.
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The philosophical views of German romantics, as well as images, motives, chronotopes characteristic of German romanticism, embodied in the domestic urban fantasy are analyzed. Special attention is paid to the techniques of the comparative method. The scientific novelty of the research lies in the almost complete absence of works devoted to the study of urban fantasy. It is noted that this fantasy subgenre has not been considered in detail in the context of the continuation of the traditions of romantic German literature. The theoretical basis of the research is presented by the works of M. M. Bakhtin, N. Ya. Berkovsky, V. M. Zhirmunsky, Yu. M. Lotman, S. S. Levochsky, etc. It was revealed that urban fantasy inherits the main images, themes, motives, symbols that dominated in German romanticism: the motive of a double, the image of a doll, an artist, etc. It was established that the authors of urban fantasy not only reproduce the image of a romantic artist-creator, but depict a character-demiurge. It has been proven that urban fantasy deepens and transforms the romantic “night beginning”: the images of the dead and vampires become plot-forming characters in independent series of works. It is concluded that the authors of urban fantasy, like German romantics, activate the readers’ attention to mythology and folklore, creating new fantastic worlds with their help.
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Sarbash, Lyudmila N. "Non-Russian Mythology and Folklore in the Volga Travelogue of the 19th Century." Imagologiya i komparativistika, no. 15 (2021): 140–55. http://dx.doi.org/10.17223/24099554/15/8.
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The Volga Travelogue is a large layer of travel essays in the 19th-century Russian literature. This layer has not become a subject of special research in literature studies. The “journey along the Volga” is distinguished by the wide diversity of issues and themes it discusses: the economic and industrial activities of the region, its cultural and historical sights, the uniqueness of the Volga region in an ethnographic perspective – of the multifaceted “Volga region resident”. One of the structural components of the travelogue is the Volga mythology and folklore: historical-geographical and cultural-ethnic information is supplemented with legends of the ancient Volga, Russian and non- Russian (Tatar, Mordovian, German, Kalmyk) legends. Describing the “non-Russian Volga”, writers refer to the national aspects of the life of different nationalities, the most important archetypes of their consciousness. A characteristic feature of N.P. Bogolyubov’s travelogue The Volga from Tver to Astrakhan is the non-Russian word as a marker of cultural identity: it is invariably present in the description of national customs. Telling about the “Mordovian places” of the Volga region, Bogolyubov describes specific rituals associated with the birth of a baby and with burials. The Muslim as a different national and cultural tradition of the Volga region particularly attracts writers’ attention. M.I. Nevzorov, in his Journey to Kazan, Vyatka and Orenburg in 1800, tells about the spiritual and religious experience of the Tatar people: writes about the ontological constants, acquaints the reader with epigraphic culture representing Muslims’ existential ideas about people and the universe. S. Monastyrsky, in his Illustrated companion along the Volga, presents Tatar legends about the winged snake Jilantau, about the “Black Chamber” and the khan’s daughter. These legends express the religious and poetic ideas of the people. Telling about the local cultural and mythological tradition is a characteristic feature of the Russian travelogue: an autochthon is represented by its ethnocultural identity. Folklore material functions in structural parallels – multilingual sources: V.I. Nemirovich-Danchenko, in his travelogue The Great River: Pictures from the Life and Nature on the Volga, gives two – Russian and Mordovian – versions of the legend about “Polonyanka”, and notes the particular poetry of the non-Russian text. In the combination of various – Tatar, Russian, Kalmyk – cultural and national constants of the lower Volga. German characterology is particularly expressed. A German legend associated with biblical material about the history of the prophet Elijah’s wandering through the desert to Sarepta of Sidon is fixed in the travelogues of Ya.P. Kuchin, S. Monastyrsky, and A.P. Valueva. The legend conveys the historical “memory of the place” – the foundation of the Sarepta colony. In the travelogues of V. Sidorov, N. Bogolyubov, descriptions of Buddhist Kalmyks, with their way of life, khuruls and gelyungs, are supplemented with Kalmyk legends about the Bogdo-Ola mountain. Folklore and mythology as categories of a non-native cultural text complicate the artistic system of the travelogue and contribute to the poetic comprehension of the poly-ethnic and poly-confessional Volga region.
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Geroulanos, Stefanos, and Jamie Phillips. "Eurasianism versus IndoGermanism: Linguistics and mythology in the 1930s’ controversies over European prehistory." History of Science 56, no. 3 (June 25, 2018): 343–78. http://dx.doi.org/10.1177/0073275318776422.
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In 1935, the Russian linguist Prince Nicolai S. Trubetskoi and the French mythologist Georges Dumézil engaged in a vicious debate over a seemingly obscure subject: the structure of Northwest Caucasian languages. Based on unknown archival material in French, German, and Russian, this essay uses the debate as a pathway into the 1930s scientific and political stakes of IndoEuropeanism – the belief that European cultures emerged through the spread of a single IndoEuropean people out of a single “motherland.” Each of the two authors held strong commitments to visions of European order and its origins – in “Eurasia” for Trubetskoi and a Northern European Heimat for Dumézil. The North Caucasus, long a privileged site for Russian and European scholars, now became key to the renegotiation of the origins and reach of imagined prehistoric IndoEuropean conquerors, but also the 1930s’ debate over the value of different disciplines (linguistics, mythology, archaeology, folklore studies) for the origins of language, myth, and the European deep past. As a moment in the history of modern speculations about prehistory, pursued in the shadow of Nazi scholarship, the debate transformed fields of research – notably linguistics, comparative mythology, and structuralism – and the assumptions about the shape of Europe.
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Rusakova, Olga F., and Vasiliy M. Rusakov. "Soviet Power Plus Rationalization of the Whole Country: Creating the Kingdom of Reason." RUDN Journal of Russian History 21, no. 4 (December 5, 2022): 452–68. http://dx.doi.org/10.22363/2312-8674-2022-21-4-452-468.
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The correlation between the categories of rational and irrational in the philosophy of the Enlightenment and classical Marxism, which found its embodiment in Russia in the form of Bolshevism (Leninism), is studied. The authors identify that rationalism as a kind of "mythology of Reason" arose in the Enlightenment era and reached its apogee in the Great French Revolution and German classical philosophy. Despite the fact that in a number of works of classical Marxism heuristically valuable ideas were put forward to reformulate the problem of the essence and correlation of the categories of ration-al and irrational, rationalism prevailed in the understanding of reality and practices of the first years of the October Revolution. This found expression in the works of V.I. Lenin, in the socio-political and spiritual atmosphere of revolutionary Russia, which had far-reaching consequences for Soviet society. This phenomenon paved the way for the state-political mythology of Reason and its fetishization, the mystification of science (which, like magic, "can do anything"). These rationalist schematisms penetrated deeply into all forms of mass consciousness and gave rise to the cult of Reason, on the basis of which all spheres of life of Soviet society were supposed to be transformed.
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Kudryavtseva, Tamara V. "ANCIENT GREEK PLOT AND ITS CREATIVE INTERPRETATION (BASED ON THE WORKS OF THE MODERN GERMAN WRITER STEFFEN MARCINIAK)." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 1 (March 1, 2022): 126–49. http://dx.doi.org/10.18522/2415-8852-2022-1-126-149.
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The article analyzes the transcriptions of ancient myths in the work of the modern German writer Steffen Marciniak. The reasons for his appeal to ancient Greek mythology, its plots, motives and images are clarified, the author’s intentions and ways of their artistic embodiment (interpretation) in a specific text are fixed. The analysis is carried out with the involvement of the reception history of ancient myths in the German-speaking cultural space. Within the framework of historical-literary and historical-comparative analysis, the Russian language context is involved. The transcriptions-retellings-interpretations by Marciniak of original ancient mythological storylines are analyzed both from the point of view of the problem and thematic scope, and the plot, structural and compositional particulars of the writer’s texts. The connection of Marciniak’s works with the peculiarities of his biography, personal psychological and ideological, as well as artistic and aesthetic orientations is traced. It reveals that the main theme, that excites the writer and forms the basis of his plots, becomes the core of interpretation and refers to tradition. Based on the analysis, an attempt is made to determine the specifics of the individual poetics of the writer, to fit it into the general context of German literature of the XX-XXI century.
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Leimlehner, Astrid B. "Ancient Deities and New Meanings: The Role of Myths in Twentieth-Century Astrology." Culture and Cosmos 22, no. 1 (June 2018): 58–63. http://dx.doi.org/10.46472/cc.0122.0209.
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This paper examines a peculiar notion of divinity: the observation that authors of twentieth century astrology books recount myths of ancient Greek deities. These old stories seem to contradict the often cited ‘new’ psychological nature of Western astrology since the 1920s following the influence of C. G. Jung’s psychology. On a larger scale, this observation has the potential to blur the boundaries between so-called ‘traditional’ and ‘psychological’ astrology. And yet astrological authors had their reasons for including Greek mythology in their books. The task of this paper is to flesh out the role that ancient deities play in – putatively – new astrological concepts using examples of the German astrologer Olga von Ungern-Sternberg (1895-1997).
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Guindo, Bocary, and Petr A. Kutsenkov. "THE “FEEDBACK EFFECT” IN MODERN DOGON CULTURE (MALI)." Journal of the Institute of Oriental Studies RAS, no. 1 (19) (2022): 158–70. http://dx.doi.org/10.31696/2618-7302-2022-1-158-170.
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The ‘Feedback effect’ is a phenomenon of a ‘feedback’, repeatedly described for discussing the oral tradition: Back in 1982, German ethnologist David Henige noted that researchers of African traditional cultures more and more often encounter the practice when they are recounted the results of the field materials of their predecessors. In all such cases, informants reproduce the works of anthropologists, but the authenticity of recorded traditions in general is beyond doubt. That is not the case with Dogon. The example of this people shows that the phenomenon of ‘feedback’ can not only complicate the work of anthropologists, but also contribute to the growth of ethnic and national identity. Myths borrowed from anthropological literature began to penetrate rural folklore with the development of tourism in the 1990s– 2000s. But the purposeful imposition of a united mythology ‘according to Griaule’ began to play a very important role in the development of ethnic and national identity. The most important role belongs here to the festivals of Ogobagnia. Thus, using the example of the Dogon, one can see a kind of a ‘secondary’ mythology version based on the phenomenon of feedback. The imposition of this ideology is still opposed by local traditions and local folklore, which are very different from the “Dogon mirage” introduced by intellectuals, as well as local customs and rituals, sometimes having little in common with each other; so far, the linguistic and cultural diversity of the ethno-social organism of the Dogon has resisted the pressure of these myths, but perhaps the day is not far off when not only in the Sangha, but also in Semari and Tintan, visitors will be told about Nommo and Sirius names which do not exist (sigu tolo or pô tolo), and the mythology of the Dogon will really turn into a harmonious, but artificial system.
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Bock, Bettina. "GERMAN STAMMBAUM ‘FAMILY TREE’ — A MULTIMODAL WORD HISTORY." German Philology at the St Petersburg State University 12 (2022): 454–73. http://dx.doi.org/10.21638/spbu33.2022.124.
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The paper deals with the concept of family tree and the German word Stammbaum. The concept is placed in the larger context of the plant-human metaphor. This metaphor is already found in the Ancient Near East in the Sumerian cosmogony. It is also known from the Bible. And it is deeply rooted in Indo-Europeania and can be traced through reconstructed Proto-Indo-European, Greek and Latin mythology, or Germanic and Slavic wood idols. The article compiles the frequently cited Latin texts passages on the topic and can add an early evidence for a “tree of kinship”. The oldest attestation dates back to the time around 650, but this is probably an isolated evidence, even though Isidore of Seville describes a stemma (the Roman genealogical table) with ramusculi ‘little branch’ in his Etymologiae. There is no need to conclude that this was a tree, even if the modern “tree of kinship” this suggests. Rather, art historical studies have shown that between the 9th and 12th centuries various forms of representation for the concept of family tree were tested, and that around 1200 the familiar family tree was estabablished as the form we know now as the only one. A first linguistic testimony is found in Albertus Magnus. Together with the early family trees of Carolingians and Guelphs, the thesis is developed, against the background of the deep anchoring of the plant-human metaphor in Germanic, that the family tree takes up these old ideas, too, and that the sound similarity of stemma and German Stamm supported to the word formation German Stammbaum.
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Sharypina, T. A. "Interpretations of Plot about Alceste: from Euripide’s Social and Domestic Drama to Franz Fühmann’s “Play with Music in Ancient Landscapes”." Nauchnyi dialog 12, no. 2 (April 1, 2023): 253–73. http://dx.doi.org/10.24224/2227-1295-2023-12-2-253-273.
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The significance of the study is due to the need to update the memory of the personality and work of the East German writer Franz Fuhmann, undeservedly forgotten in the era of united Germany. The novelty of the proposed study is due to the fact that the materials that testify to the long and painstaking preparatory work to create a play about Alces and this work itself have not only not been translated, but have not been studied in Russian German studies either. It is noted that the problem of “inclusion” of artistic consciousness in new media makes it necessary to approach the reception of the classical heritage from a new point of view. It is indicated that Franz Fuman is one of the brightest experimenters in this field. It is shown that psychological rethinking of traditional mythological situations and the creation of their new versions prevail in his dramatic experiments, which allows us to see the timeless grain of the myth. It is argued that in the named work the writer does not deviate from the formulation of the burning topics of our time, but elevates their understanding to a higher level of the eternal questions of mankind. It is emphasized that in this context it is not surprising that the writer turned to the traditions of antiquity, primarily mythology. The author of the article believes that the study of the dramatic experiments of Franz Fumann helps to supplement the picture of the genre and style diversity of his work with new facts.
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James, David. "The Transition from Art to Religion in Hegel's Theory of Absolute Spirit." Dialogue 46, no. 2 (2007): 265–86. http://dx.doi.org/10.1017/s0012217300001748.
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ABSTRACTI relate the aesthetic mediation of reason and the identity of religion and mythology found in the Earliest System-Programme of German Idealism to Hegel's account of the transition from the ancient Greek religion of art to the revealed religion (Christianity) in his theory of absolute spirit. While this transition turns on the idea that the revealed religion mediates reason more adequately in virtue of its form (i.e., representational thought), I argue that Hegel's account of the limitations of religious representational thought, when taken in conjunction with some of his ideas concerning Romantic art, suggests that he fails to demonstrate the necessity of the transition in question, thus undermining the triadic structure (i.e., art, religion, philosophy) of his theory of absolute spirit.
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Deibl, Jakob Helmut. "Speaking of God in the Realm of Aesthetics: Religion in Hölderlin." Religions 14, no. 11 (November 14, 2023): 1422. http://dx.doi.org/10.3390/rel14111422.
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This article considers the work and reception of Friedrich Hölderlin with regard to the impact of German Idealism on religion. To this end, two questions must be clarified in advance: can Hölderlin, who is known primarily as a poet, also be placed in the context of German Idealism, and does his work have a significant relationship to religion? I argue that both questions should be answered in the affirmative. Ernst Cassirer’s study Hölderlin und der deutsche Idealismus (1918/19) clearly laid the foundation for appreciating Hölderlin’s place within German Idealism, and the question of God is a leitmotif of Hölderlin’s entire oeuvre. I seek to trace Hölderlin’s influence on understanding religion in three steps: First, I want to show that Hölderlin, in a critical continuation of Kant, does not consider religion solely within the matrix of practical reason, but brings into play the dimension of aesthetics. By situating religion in relation to the two focal points of ethics and aesthetics, a fundamental question of the philosophy of religion is addressed. Second, I employ several examples to show the various conceptions of the divine that the poet elucidates and juxtaposes in his work (Christian motifs, Greek mythology, pantheistic concepts, etc.). This leads to a philosophy of religion that is not determined by dogmatic boundaries. Third, I point out how religion plays a major role in the reception of Hölderlin.
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Hodge, Elizabeth J. "The mysteries of eleusis at howards end: German romanticism and the making of a mythology for England." International Journal of the Classical Tradition 13, no. 1 (June 2006): 33–68. http://dx.doi.org/10.1007/bf02901797.
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Viola, Lynne. "Antisemitism in the “Jewish NKVD” in Soviet Ukraine on the Eve of World War II." Holocaust and Genocide Studies 34, no. 3 (2020): 393–408. http://dx.doi.org/10.1093/hgs/dcaa043.
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Abstract Following the German invasion of the USSR on June 22, 1941, murderous violence against local Jews broke out in many localities of the territories it had occupied in the wake of the 1939 Soviet-German Non-Aggression Pact. In particular, organizers demanded revenge for the recent Stalinist repressions and deportations. Participants claimed that the “Jewish Soviet state,” the “Jewish NKVD,” or local Jews had been responsible for those crimes. Even now, the legend of prewar Jewish responsibility figures in the dubious “double genocide” thesis animating nationalistic historiographies in Eastern Europe and its international diasporas. The following study counters that mythology, addressing the story of actual Jews in the NKVD at the end of the 1930s. It draws on the archives of the Ukrainian security services, especially records that document Stalin’s effort to divert blame for the recent Great Terror onto senior and mid-level officials. Stalin’s green light to criticize the bosses gave other NKVD officers the opportunity to address many issues, including that of antisemitism among NKVD cadres. These sources suggest that antisemitism was in fact a potent force within the NKVD in Ukraine and elsewhere.
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Krakow, Annett. "The Polish interest in the Eddas — Joachim Lelewel’s Edda of 1828." European Journal of Scandinavian Studies 50, no. 1 (April 28, 2020): 111–33. http://dx.doi.org/10.1515/ejss-2020-0006.
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AbstractIn the second half of the 18th century and early 19th century, a rising interest in Old Norse literature outside the Nordic countries could be noted that, to a great deal, focused on the Poetic Edda and the Prose Edda as sources for Norse mythology. This interest is also reflected in the works of the Polish historian Joachim Lelewel (1786–1861) who, in 1807 and 1828, published translations and retellings of the Poetic and the Prose Edda. These were based on French, German and Latin translations. The second edition of 1828 is characterised by a more comprehensive section with eddic poetry, the selection of which is also explained by Lelewel, as well as an essay on pre-Christian religion that also includes a research overview and a list of editions/translations of the Eddas.
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POLNIAK, Łukasz. "POLISH WAR MOVIES AS A CASE STUDY OF THE MYTH OF THE BEGINNINGS OF NEW STATEHOOD AS THE LEGITIMIST CATEGORY IN THE POLISH PEOPLE’S REPUBLIC." Scientific Journal of the Military University of Land Forces 160, no. 2 (April 1, 2011): 84–99. http://dx.doi.org/10.5604/01.3001.0002.2964.
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This article attempts to reconstruct the mythology surrounding the beginnings of state-hood of the Polish People’s Republic after the Second World War. As the means of conveying political propaganda, myths were primarily propagated in the Polish war movies of the period 1956 through 1989. The myth pertaining to the origin of statehood aimed to legitimize the roots of the communist system in Poland. As such, it is the part of a broader mythology which had developed over centuries in the national consciousness, the “myth of Polish statehood. It was used by the communists as propaganda after the Second World War. Its other mythological components include: permanence, reference to tradition and nationalism. Its main elements are: the portraying of the beginning of statehood as a drama, the myth of the army as an institution and the myth of the soldier as a charismatic figure, the myth of Western and Northern territories and the myth of Bieszczady mountains as the new Polish Eastern Borderlands, the myth of the lost patriot hero, the myth of the folk hero and the myth of widespread support for the new state authorities in years 1944-1947. It is important to note the attempts to connect the nationalistic (anti-German and anti-Ukrainian) threads with the elements of military ethos. It appears that after 1956 the current socialist realism was replaced by the myths of the beginning and the military ethics.
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Ito, Toshiko. "Wandelnde Horizonte des Weltwissens." Journal of Educational Media, Memory, and Society 10, no. 1 (March 1, 2018): 82–105. http://dx.doi.org/10.3167/jemms.2018.100106.
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*Full article is in GermanChanging Horizons of World Knowledge: On the Presentation of Space in Primary School Geography Textbooks of the Japanese EmpireEnglish abstractThe presentation of space in primary geography textbooks of the Japanese Empire (1868–1945) changed according to the political climate. In the liberal phase of the 1870s, Japanese geography schoolbooks dealt with the entire earth. In the revisionist phase of the 1880s, in order to encourage a sense of national identity, no knowledge of lands outside of Japan was imparted to lower primary school students. In the phase of colonial expansion from the 1890s, the world reemerged in geography school books, with an increasing emphasis on the reorganisation of East Asia. Drawing on premodern mythology, primary geography textbooks served to consolidate the Japanese concept of empire in accordance with the respective political situation. German abstractDie Raumvorstellung in den elementaren Geographieschulbüchern des Japanischen Kaiserreichs (1868–1945) änderte sich mit dem politischen Klima. In der liberalen Phase der 1870er Jahre behandelten die Geographieschulbücher alle Erdräume. In der revisionistischen Phase der 1880er Jahre wurde den unteren Grundschülern zur Wahrung der nationalen Identität kein Wissen über die Erdräume außerhalb Japans vermittelt. In der kolonialen Expansionsphase ab den 1890er Jahren fanden die Erdräume außerhalb Japans wieder Eingang in die Geographieschulbücher, wobei die Neuordnung Ostasiens immer stärker betont wurde. Auf der vormodernen Mythologie basierend dienten die elementaren Geographieschulbücher der Festigung des japanischen Reichsgedankens nach Maßgabe der jeweiligen politischen Lage.Keywords: Geographieschulbücher, Großostasiatische Wohlstandssphäre, Japanisches Kaiserreich, koloniale Expansion, nationale Identität, Raumvorstellung
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Šlekonytė, Jūratė. "The Lithuanian Legends of the Wild Hunt: Regarding Origins of the Image." Tautosakos darbai 47 (June 1, 2014): 43–68. http://dx.doi.org/10.51554/td.2014.29179.
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In the end of the 19th century, five Lithuanian folklore pieces describing the so-called Wild Hunt were recorded. In these narratives, the images of the hunt and the sounds made by the ranging souls are described. These texts, having been recorded in the territory inhabited by the so-called lietuvininkai (the Lithuania Minor) are truly unique. This land belonged to the Eastern Prussia at the time and having been for the long period separated from the major Lithuania and experiencing considerable German cultural influence, it acquired singular features.So far the Lithuanian folklorists tended to interpret the legends in question as results of the German cultural influence. Yet the available folklore data only partly supports such opinion. The Lithuanian legends of the Wild Hunt are analyzed in the article by using the contextual information from the Baltic mythology, folklore, history and archeology. The motifs of the Wild Hunt are popular in the oral tradition of the European peoples, comprising specific imagery depicting a ghostlike hunting party ranging across the sky. Connections of this image with the cult of the deceased and the visions of the afterlife have been repeatedly established by the researchers.The current analysis reveals that Lithuanian legends of the Wild Hunt are related to the German narratives of the Wilde Jagd not only in the name of this phenomenon. The Germanic influence can also be traced in the fact that the Wild Hunt is observed on high, since similar images are hard to find in the Lithuanian material. Other aspects of the phenomenon in question have parallels in the traditional Lithuanian worldview and can be deciphered on the grounds of the local folklore. Yet the origins of this image should perhaps be sought in the earlier layers of the Baltic culture.The territory of the Lithuania Minor has for a long time been the native land of the western Baltic tribes – Prussians. Because of the assimilation processes and in result of a large number of the local population perishing in the plague, the ancient Prussian language became extinct as early as the beginning of the 18th century. Still the persistence of the Wild Hunt image in the worldview of the local Lithuanians of the 19th century can well be related to this cultural layer.In striking correlation with the historical cultural facts recorded in the chronicles, the Prussian archeological data allows for assuming that local inhabitants used to imagine the afterlife journey of the deceased as a ride on a horseback, while endowed with all the military attributes. Yet this is valid only for the society members of the highest rank or the militants. Nevertheless in case of the Prussians, who used to live under the circumstances of almost ceaseless military campaigns, quite a number of mythical images could have incorporated the military thematic, thus forming distinct manifestations of the warriors’ mythology: the journey of the deceased to the afterworld on a horseback and with military equipment, the ghostlike army seen in the sky as an omen of the imminent war, etc. In L ithuanian mythology, such manifestations of the military worldview used to be best discerned in the 13th–14th centuries, when tensions caused by the threats to the safety and integrity of the land were most acutely experienced and the retaliatory military raids were frequently organized. This was also revealed in the contemporary pattern of the state gods, which reflected the ideology of the military layer of the society, while considerably lacking in representation of the lower rank of the deities (e. g. those in charge of the economic sphere). Such reflections of the military mythology could have well survived among the Lithuanian-speaking inhabitants of in the Lithuania Minor in the 19th century, when folklore collector Vilius Kalvaitis recorded the five legends in question there. It is reasonable to assume that such images used to become more prominent whenever fear and foreboding of the imminent war were felt, while persistence of such imagery was likewise supported by the existing similar Germanic notion of the Wilde Jagd.
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Lushnikov, Alexander A. "The Origin of the Term “the Paganism of the Eastern Slavs” in the Russian Scientific Literature: the “Pagan Past” and Historical Memory." Study of Religion, no. 3 (2019): 5–20. http://dx.doi.org/10.22250/2072-8662.2019.3.5-20.
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The article deals with the genesis of the definition “the paganism of the Eastern Slavs” in the works of Russian historians in the 18th–19th centuries. The author determines the sources of that terminology and considers its methodological and ideological sense. He compares the definitions of Old Russian antipagan texts and first Russian scientific works on history and mythology. The medieval literature contained a lot of concepts, but one can’t find their any mention about “paganism” as phenomenon as well as the word “paganism”. Old Russian authors mostly wrote about “pagan people” as social and religious group and gave them the concrete features depending of the context. The awareness with “paganism” as a phenomenon should relate to the scientific works on history and mythology. This definition firstly appeared in the lexicons of E. Veisman and I.K. Adelung with their Russian translation of the Latin “gentile” and German “heidentum”. Also one can find it in the “Russian history” of V.N. Tatishchev who used “Cimbrische Heyden Religion” written by Arnkiel Trogilliusas as one of the important source. However, it took a while to make this definition to become central in the scientific literature. At the beginning of the 19th century, a lot of authors preferred to use the word “basnoslovie”. The definition “paganism” became fundamental with the issue of the great work N.M. Karamsin after all. Such history of this word reveals not only its complexity and ambiguity but the argumentativeness of the traditional view of “paganism” as a product of the church literature only.
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Nemchynov, Igor. "Russian Identification. “Lyubomudrie” instead of Philosophy." Sententiae 13, no. 2 (December 26, 2005): 160–67. http://dx.doi.org/10.31649/sent13.02.160.
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The author of the article aims to prove the thesis that it was the " lyubomudry" who were the first to formulate the Russia-Europe opposition at the categorical, historiosophical level, which is still fundamental to understanding Russian identification. The author notes that the desire to separate from the European past is turning into a clear trend, the reasons for which lie not only in the realm of ideology (we are not Europe, so there can be no parallels), but also in the realm of mass consciousness, brought up on the legendary history of Russia and marked by excessive xenophobia. The «West» is understood as the mythology of the West, and mythologisation is the ground on which the currents of Russian thought unite and is an integral feature of the "Russian idea", i.e. the attempt to civilise Russians. The lyubomudry succeeded in instilling German philosophy in Russian thought.
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Demshuk. "Reinscribing Schlesien as Śląsk: Memory and Mythology in a Postwar German-Polish Borderland." History and Memory 24, no. 1 (2012): 39. http://dx.doi.org/10.2979/histmemo.24.1.39.
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Bashuk, Natalia. "PHRASEOLOGISMS WITH A ZOONYMIC COMPONENT IN GERMAN AND UKRAINIAN LINGUISTIC WORLD IMAGES." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 9(77) (January 30, 2020): 200–203. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-200-203.
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The article provides a comparable analysis of phraseologisms with the zoonymic component in German and Ukrainian linguistic images of the world, which are closely related to national cultures, traditions, customs and religions. Representatives of the animal world become symbols of prototype imagery of strength, bravery, courage, loyalty, stubbornness, humility, guile, speed of movement, wisdom. It has been identified that zoonymic component in a phraseological unit has a pronounced national-cultural specificity, which determines its associative relations and allows to use these phraseologisms to characterize appearance, social status, interpersonal relationships, behavior, physical and emotional state, intelligence, attitude to work and character traits of a person. In this case, the negative characteristics in zoonyms outweigh the positive ones, which is explained by the fact that any language tends to more likely adopt negative deviation in meaning. Mythology, folklore, biblical and literary sources, historical events and facts have significant bearing on the choice of zoonyms in phraseological units of the languages compared. Names of animals in different languages can be related to not the same images and symbols, and the same animals can be a standard for ascribing different qualities and characteristics. Thus, phraseological units with zoonyms can cause difficulties in translation, since zoonimic image plays a crucial role in the formation of the individual meaning of the phraseological unit, performing both informative and imaginative-expressive function. Phraseological units with a zoonymic component can be translated using full equivalents, partial lexical and grammatical equivalents, selection of analogues, description, literal and overtonal translations.
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Sarakaeva, Аsia A., and Elina A. Sarakaeva. "Bride behind the Threshold: “The Lay of the Nibelungs”, Body-Shifters and the Mythology of Exogamic Marriage." Corpus Mundi 1, no. 3 (October 30, 2020): 132–46. http://dx.doi.org/10.46539/cmj.v1i3.26.
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Basing on the German epic poem “The Nibelungenlied” and European folk tales, authors of the article single out the story of a bride left nearby her groom’s house. Characteristic features of this story are explained as originating from a ritual myth which used to codify the rites of the exogamic marriage. The bride in this plot is viewed as a shape-shifter whose bodily transformations reflect her origins from the Underworld and manifest her ability to kill. Changing the bodily form is thus representative of the evil powers and dangerous qualities of a being. The transformations of the bride’s body are only present in the most archaic forms of the plot, where her ability and proneness to kill are manifested straightforwardly – by assuming the image of a murderous animal. It’s possible to neutralize her harmful potency with the help of a wonderful assistant, the dead man who embodies one’s ancestor, or by performing certain ritual actions, creating special conditions under which the bride could change and become one of our own, safe for herself and her host family, rejecting all ties with the dangerous space of the Otherworld.
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Mizin, K., and O. Kolesnyk. "German emotional concepts of safety, protection and comfort through the prism of the linguo-cultural opposition of Ordnung ‘Order’ – Chaos ‘Chaos’." Studia Philologica 1, no. 16 (2021): 18–28. http://dx.doi.org/10.28925/2311-2425.2021.163.
Full textAbstract:
This paper considers verbal means of representing concepts of the sphere of emotions within the framework of German language worldview. The article targets conceptualized emotions connected to the notions of safety, protection and comfort. The methodology of analysis employs fundamental notions of linguo-cultural studies, cognitive linguistics and linguo-semiotics realigned along the basic point of M-logic, the theory of myth-oriented semiosis and universalia-oriented studies. Socio-cultural and enthic peculiarities of verbal representations of the emotions belonging to the "comfort quartet" are interpreted as manifestations of the system's (German "national spsirt's") compensating for the fear of the future that appears to the factor of entropy. Ethnic and linguo-cultural features of the «Sicherheit», «Geborgenheit», «Zuverlässigkeit» and «Gemütlichkeit» concepts are addressed as markers of axiological significance and further viewed through the prisom of the «Ordnung ‘Order’ – Chaos ‘Chaos’» opposition. Semantic "nano-myths" encoded in the inner form of the concepts' names are reconstructed via the etymological analysis of the units «Sicherheit», «Geborgenheit», «Zuverlässigkeit», and «Gemütlichkeit». The article discusses the transformation of primal semantic nano-myths correlated with scenarios of Germanic mythology as inchoative matrices projected onto the ethnic worldviews into secondary mythic simulacra unfolding in multiple alternative worlds in the globalized context. Correlations between the emotional phenomena and respective concepts are outlined and specified via a nultidimensional universal model that treats a human being as a biovital and biosocial open system. The highlighted tendency towards construing the said secondary mythic simulacra demonstrates the distortion in the system's (German linguoculture's, worldview's or a national semiospheric segment 's) orientation along the "Order" categorization vector.
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Zając, Michał. "Próba mitologii romantycznej i politycznej. Kilka uwag na temat „Gryfa” Olgi Daukszty." Tematy i Konteksty 16, no. 11 (2021): 597–608. http://dx.doi.org/10.15584/tik.2021.37.
Full textAbstract:
The presented article focuses on Olga Daukszta’s epic poem “Griffin”. Written at the turn of the 1930s and 1940s, the poem constructs specific Polish and Christian identity on the lands of former Polish Livonia and contemporary Latvia. Daukszta, who considered herself Polish as well as German, Tatar or Samogitian, lived in the region where various nationalities met, co-existed and fought over centuries. In the time when Polish identity in Latvia was suppressed, she was pointing out the Polish components and aspects of Latvian history. In order to justify specific national and political rights, in her poem she constructed romantic mythology that re-interpreted certain symbols and allegories (like griffin, lion, but also St. George, etc.) and put them in the context of European and Christian culture in general. The poem was never published, nevertheless, it became an interesting attempt to create a local but somehow diverse identity in a rather typical romantic way.
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Balogáčová, Diana. "Das Motiv der Grenzüberschreitung in Karpatendeutschen Autobiografien." Studia Universitatis Babeș-Bolyai Philologia 66, no. 3 (September 20, 2021): 131–44. http://dx.doi.org/10.24193/subbphilo.2021.3.09.
Full textAbstract:
"The Motif of Crossing Borders in Carpathian German Autobiographies. Josef Derx's Memories is the autobiography of a Wehrmacht soldier who becomes a banker after the war. Free of mythology and biblical references, but often with humorous-parodic undertones, the narrative focuses on spatial and temporal details of Derx's life story. In the description of everyday life in a prison camp and the escape from it, the transformation of the remembered self into a remembering self can be observed textually and stylistically by means of changes in tempo and rhetorical figures. Elisabeth Metzl's Ein Paradies verloren aber wir leben (A Lost Paradise but We Live) tells the story of a young woman who has to flee from Bratislava to Austria in her “travelling prison” before the war, without knowing that she will leave her homeland behind forever. The search for her lost sons becomes a personal odyssey. Keywords: autobiography, remembered self, remembering self, personal odyssey "