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Journal articles on the topic 'Myth and modernity'

Author: Grafiati

Published: 23 September 2022

Last updated: 9 March 2023

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1

Terec-Vlad, Loredana. "The Role of Ideology in Nation Building." Logos Universality Mentality Education Novelty: Political Sciences & European Studies 7, no. 1 (August 25, 2022): 37–45. http://dx.doi.org/10.18662/lumenpses/7.1/29.

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The society we live in is a complex one, and is called in the specialized literature the "postmodern society", based on knowledge, technological development and other such traits, a society that emerges from Modernity. Modernity is based on a series of "founding myths" or "legitimizing structures", such as: "the myth of reason", "the myth of progress" or "the myth of the superhuman". In the modern era, an important place is occupied by the "myth of nations", because this legitimating structure was the reason why the biggest revolutions and wars fought throughout history took place.

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2

Mehl, Ted. "Myth and Modernity." Tradition and Discovery: The Polanyi Society Periodical 21, no. 2 (1994): 32–35. http://dx.doi.org/10.5840/traddisc1994/199521223.

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Ovidiu, Ivancu. "Myth, utopia, modernity." Incursions into the Imaginary 7, no. 1 (October 10, 2016): 169–78. http://dx.doi.org/10.29302/inimag.2016.7.9.

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4

Yack, Bernard. "Myth and Modernity." Political Theory 15, no. 2 (May 1987): 244–61. http://dx.doi.org/10.1177/0090591787015002005.

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5

Kozhemiakina, Oksana. "ARCHETYPAL BASIS OF POLITICAL MYTH: LITERARY TRADITION AND MODERNITY." Doxa, no. 2(36) (March 25, 2022): 67–82. http://dx.doi.org/10.18524/2410-2601.2021.2(36).246781.

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The article examined the features of the archetypal foundations of the political myth, defined the functions of the myth, outlined the ways of its transmission and conceptualization in modern society, ñonsidering the manipulative effects of hidden ideological influence. Based on the analysis of the works of C. G. Jung, J. Durand, M. Eliade, R. Barthes, E. Cassirer, N. Frye and others the content components and features of the political myth are specified. The author of the article emphasizes the narrative and temporal essence of the political myth. It sets the symbolic constructs of self-determination of the community in political time and space, and also forms an idea of the glorious past, the actual (usually crisis) present and the desired idealized future. Accordingly, the political myth is viewed as a dynamic form of the narrative organization of political space and time, setting meaningful meanings and guidelines for the development of a community, also providing a connection between generations. The types of political myth are, first of all, heroic myths (represented by actual archetypal images) and genealogical myths (about the origins of the community, which usually legitimize the connection with the territory and the right to independent statehood). The evolutionary, typological and myth-making approaches to the analysis of the relationship between myth and literature are analysed. It has been proven that modern political myth conceptualizes reality through narratives and discourses, and literature is one of the most important translators of mythological information. It is noted that by filling mythological plots with socio-political content, history itself is mythologized, reconstructing historical memory. Moreover, literary heroes remain in the collective consciousness «living» witnesses of the epochs.The deep motives of narrative mythological oppositions and Trinitarian structures, actualized in modern images, are revealed. Archetypes are understood as energy sources for the formation of the subject content of a political myth, which is structured around a number of binary oppositions (Good – Evil, Life – Death, We (ours) – They (others)), and the cyclical nature of trinitarian structures of procedural implementation (origin – disappearance – preservation (revival)). The transformations of traditional mythological plots and archetypal images in the modern political branding are investigated.

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Schweizer, Karl W. "Modernity: Myth or Reality?" European Legacy 20, no. 6 (May 12, 2015): 652–58. http://dx.doi.org/10.1080/10848770.2015.1046318.

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7

Murashkin, Mykhailo G. "Myth, self-sufficiency, salvation." Ukrainian Religious Studies, no. 39 (June 13, 2006): 4–18. http://dx.doi.org/10.32420/2006.39.1738.

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The problem statement is that the modernity of human existence gives rise to new myths. This human present seeks salvation and experiences a self-contained character. An analysis of recent research on the subject involves examining the link between myth, salvation, and self-sufficiency in the ancient and modern world. In view of this, the purpose of the article is to identify the connection between modern myth and the idea of salvation and self-sufficiency.

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Balatov, S. A. "Tickets for the steamboat of modernity." Voprosy literatury, no. 6 (December 28, 2020): 126–43. http://dx.doi.org/10.31425/0042-8795-2020-6-126-143.

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The article examines the poetry collections printed by Voymega publishers in their new series ‘Pyroscaphe.’ Authors of the six collections published so far are young poets who participated in the literary seminar ‘The way to literature. Continued’ held by the Moscow Writers’ Union in 2019: M. Bessonov, D. Nozdryakov, B. Peygin, K. Tarayan, E. Uliankina, and V. Fedotov. Despite their very dissimilar poetics, the study of their works enables the critic to trace certain common features that define the new generation of poets. In particular, Batalov believes that each author tells their own myth. What unites those myths are the concept of the post-Soviet childhood (with all realia typical of the 1990s), the crossing of the border between life and death, and idealization of the provinces; it is also pointed out that each of the authors eventually arrives at the myth of Hades, the kingdom of shadows, where human souls are roaming in solitude. In conclusion, Batalov proposes to poets that if they cannot overcome the inertia of mythological thinking, they should at least mitigate it by addressing reality.

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9

Eckert, Michael. "Myth and modernity in Dallapiccola'sUlisse." European Legacy 1, no. 4 (July 1996): 1585–90. http://dx.doi.org/10.1080/10848779608579615.

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10

Álvarez Solís, Ángel Octavio. "El retorno antimoderno. Mito y teología política en tiempos postseculares." Theoría. Revista del Colegio de Filosofía, no. 33 (December 1, 2017): 27–49. http://dx.doi.org/10.22201/ffyl.16656415p.2017.33.420.

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The main argument of this essay highlights the political importance of the myths regarding the formation of the modern debate around secularization, especially the role that political myths and theologies play in the configuration of the modernity. The essay is divided in three parts. The first one supports that the political myth constitutes the blind point of modernity; the second one emphasizes why it is impossible to explain secularization without the help of politic theology, and the third one describes the return of theological thought in the current debates on secularization.

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11

Scramim, Susana Celia. "Mito e poesia. Modernismo, comunidade e metamorfose." Remate de Males 34, no. 1 (April 28, 2014): 43. http://dx.doi.org/10.20396/remate.v34i1.8635831.

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The reading taken here of the relationship between myth and poetry, life and language, intended to highlight that poetry releases energy to operate against its transformation into modern utility. Poetry can, therefore, reverse the direction of a concept of modernity as conquering thought, planning and administration of life. This disordering was at the heart of the concerns of the poetry of some poets of Brazilian modernism, especially in the poetry of Murilo Mendes and João Cabral de Melo Neto, and presents another way of operating the same modernity and its immanent ordering.

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12

Cvijanović, Hrvoje. "Producing European Modernity." Politička misao 56, no. 3-4 (March 11, 2020): 81–105. http://dx.doi.org/10.20901/pm.56.3-4.04.

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This paper examines the ways in which modern philosophical and literary accounts have shaped and produced European modernity. The author looks at the myth as such, but especially in the quest, justifications, and narratives provided by Rousseau, Locke, and Daniel Defoe, among all. They are seen as grounding examples of modern mythmaking in which the concept of savagery has been uplifted and opposed to cultivating and civilizational practices, and used as a conceptual axis for articulating ideas of progress, self-preservation, and the state of nature. It is shown that modern bourgeois power of mythmaking through writing cannot be detached from racial bourgeois-capitalist worldmaking, or from the production and reproduction of racial capitalism – a structural and historical nexus of capitalism and racial oppression. The article concludes that by perpetuating myths of rational individuals rationally organizing the world, cultivating the wilderness, and enjoying freedom of production and consumption, European bourgeoisie conceptualized and constructed a fictional framework of modern man set within the mechanism of the modern state and capitalist production, that legitimized the predatory socio-economic practices based on harvesting social and natural resources, the same practices held by global capitalism as well.

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13

Ergun, Mehmet. "Modernity: A Myth That Manufactures Consent." Humanities 3, no. 4 (October 27, 2014): 606–23. http://dx.doi.org/10.3390/h3040606.

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14

Ji-tae Sohn. "Benjaminian Ruskin: Redemptive Myth and Modernity." Journal of English Language and Literature 55, no. 6 (December 2009): 937–59. http://dx.doi.org/10.15794/jell.2009.55.6.001.

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15

Unruh, Vicky, and Paul B. Dixon. "Retired Dreams. "Dom Casmurro." Myth and Modernity." Hispanic Review 59, no. 3 (1991): 364. http://dx.doi.org/10.2307/474070.

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Quinlan, Susan Canty, and Paul B. Dixon. "Retired Dreams: "Dom Casmurro", Myth and Modernity." Rocky Mountain Review of Language and Literature 44, no. 4 (1990): 253. http://dx.doi.org/10.2307/1346796.

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17

Ginway, M. Elizabeth, and Paul B. Dixon. "Retired Dreams. Dom Casmurro: Myth and Modernity." Hispania 74, no. 2 (May 1991): 323. http://dx.doi.org/10.2307/344826.

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18

Tobin, R. W. "Racine: From Ancient Myth to Tragic Modernity." French Studies 65, no. 2 (March 25, 2011): 242–43. http://dx.doi.org/10.1093/fs/knq245.

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19

Moysan, Bruno. "Liszt, lecteur antimoderne de Faust." Studia Musicologica 55, no. 1-2 (June 2014): 65–80. http://dx.doi.org/10.1556/6.2014.55.1-2.5.

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The article offers a definition of the concept of anti-modernity, based at first on Antoine Compagnon’s 2005-volume Les antimodernes, de Joseph de Maistre à Roland Barthes. The role of the mundane sociability of the aristocracy, returned from emigration, and of the aesthetic culture of political legitimism is examined in the acclimatization process of German Romanticism in France during the Empire, the Restoration, and the first years of the July Monarchy. A hypothesis is proposed about the connections between Liszt’s interpretation of the Faust myth as it is exposed in the poems of Goethe and Lenau, on the one hand, and the political, aesthetical, and ideological resistance of French artists from the first half of the 19th century, directed against modernity, liberal individualism, the upheavals of the 1789 Revolution, and the rationalist constructivism of the Enlightenment, on the other. A survey of the aesthetics of negativity and its musical implications in Liszt’s compositions inspired by Faust reveals that the composer distanced himself from the “naive modernism” (Compagnon) of many of his contemporaries and came close to the flamboyant aesthetic of Chateaubriand’s Christian Vanity as well as to the scepticism, related in our post-modernist era with the idea of progress and of the completed work. Thus, Liszt’s relationship to the myth and the character of Faust becomes much more complex and ambiguous than it usually appears in the French literature, where Liszt’s view on the Faustian freedom is associated systematically and rather simplistically with the modern and liberal process of the individual’s emancipation.

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20

Mcneal, Robin. "Constructing Myth in Modern China." Journal of Asian Studies 71, no. 3 (August 2012): 679–704. http://dx.doi.org/10.1017/s0021911812000630.

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This study presents an overview of attempts by Chinese literati during the twentieth century to articulate a coherent Chinese mythology, primarily based on ancient texts but eventually to some extent drawing from ethnographic materials and folklore as well, and all much beholden to Western examples such as Greek and Norse mythology. This examination of text-based activities sets the stage for an inquiry into a wave of monument building during the Reform Era, much of which has celebrated China's ancient myth, history, and legend. A recent park in Wuhan dedicated to the legendary sage ruler and conqueror of floods, Yu the Great, serves as a case study of how, over the last three decades, old Chinese myths have been inscribed on the new Chinese landscape, and allows exploration of this phenomenon in relation to deeper issues concerning the role of myth in Chinese society, particularly its unexpected marriage with modernity.

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21

O'Rawe, Des. "Plays and Fragments: Antigone, Film, Modernity." Modernist Cultures 17, no. 1 (February 2022): 1–26. http://dx.doi.org/10.3366/mod.2022.0357.

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Within the history of modernity, the tragic shape and ethical concerns of the Antigone myth have made it a touchstone for understanding contemporary cultural and political realities. This essay traces the modernist processes of adaptation, citation, displacement, and revision that have often characterised the relations between filmmakers and this phenomenon. Focussing in particular on those films that subvert the authority of narrative realism and the laws of conventional – ‘classical’ – film language, it traces how particular social contexts and commitments have inevitably constructed different images of Antigone – how the Antigones that emerge in early or ‘silent’ cinema, for example, compare with those from other film and media forms, including television, video and installation art works.

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22

Doggett, Luke. "The Prodigal Son: Myth and Science in Modernity." International Journal of Science in Society 1, no. 3 (2009): 99–104. http://dx.doi.org/10.18848/1836-6236/cgp/v01i03/51472.

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23

Woodley, Daniel. "Between myth and modernity: Fascism as anti-praxis." European Journal of Political Theory 11, no. 4 (October 2012): 362–79. http://dx.doi.org/10.1177/1474885112448884.

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24

Rojek, Chris. "Leisure Life: Myth, Masculinity and Modernity. Tony Blackshaw." Journal of Leisure Research 36, no. 1 (March 2004): 128–30. http://dx.doi.org/10.1080/00222216.2004.11950014.

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25

Ariza, Julio. "The Inverted Conquest. The Myth of Modernity and the Transatlantic Onset of Modernism." Journal of Spanish Cultural Studies 12, no. 3 (September 2011): 371–74. http://dx.doi.org/10.1080/14636204.2011.669255.

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26

Avanesov, Araik R. "Myth and Religiosity of Modern Man in the Phenomenology of Religion by Mircea Eliade." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 1 (213) (March 31, 2022): 4–8. http://dx.doi.org/10.18522/2687-0770-2022-1-4-8.

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The philosophical and religious views of M. Eliade are considered, the following questions are analyzed: about the presence of religiosity in the thinking of modern man through the basic concepts of the phenomenology of the scientist's religion, about the hidden presence of the mythological and sacred, the connection between the concepts of “sacredˮ and “mythˮ is discussed. The approach of M. Eliade in the question of the functionality of the myth is compared with the approaches of J. Fraser and E. Tylor. The question is raised about the interdisciplinarity of M. Eliade's concepts in the context of the study of myth and cross-cultural analysis, about the place of myth in modernity through the representation of cultural phenomena, philosophical concepts and social practices, as well as possible forms of initiation in the daily practice of modern man. The problem of the possible ontological premise of M. Eliade in the issue of the difference between traditional cultures and modern culture is actualized. The issue of replacing the mythological picture of the world with a scientific one in the context of M. Eliade's theory of myth is considered.

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27

Mac Sweeney, Naoíse. "‘Troy: Myth and Reality’, at the British Museum." Antiquity 94, no. 373 (January 22, 2020): 245–48. http://dx.doi.org/10.15184/aqy.2019.237.

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Ilya Nichiporov, Ilya. "Between Modernity and Myth: Alexey Varlamov's Novel "The Dome»." Philology & Human, no. 1 (February 27, 2022): 159–67. http://dx.doi.org/10.14258/filichel(2022)1-13.

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The article considers the artistic worldview in A. Varlamov's novel "The Dome" (1999). The author of the article clarifies the place of this novel in the writer's works, the balance of the confessional-autobiographical discourse with the mythopoetic thinking characteristic of the writer himself and the central character-the intellectual. The representation of the province and Moscow of the late Soviet and "perestroika" time is analyzed as well as the heterogeneous university environment ranging from the auditorium to the dormitory and informal youth movements. Special attention is given to the study of the semantics and structure of the urban topos of Chagodai, its specific historical and mythological origins and meanings. Utopian models of the Dome, the Kingdom of God on Earth are considered in detail from the perspective of the author's image, the life experience of the central character, public life collisions of the frontier time. Conclusions are drawn about the prophetic nature of this work, where the artistically recreated realities of the end of the previous century serve as the basis for anxious forebodings about the prospects for the the life in the country in the coming decades.

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29

Bell, Michael. "Myth and Literature in Modernity: A Question of Priority." Publications of the English Goethe Society 80, no. 2-3 (July 2011): 204–15. http://dx.doi.org/10.1179/095936811x12997586789575.

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30

Oltean, Tatiana. "Béla Bartόk Bluebeard’s Castle – a new Avatar of the Myth of Orpheus?" Musicology Papers 35, no. 1 (November 1, 2020): 52–64. http://dx.doi.org/10.47809/mp.2020.35.01.04.

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Ever since its Greek and Roman mythological and literary sources during Antiquity, the myth of Orpheus has been of paramount importance in the edification of the Artist as a key-character of understanding Music as magic and Love beyond death. Over the course of millennia, the myth has underwent numerous transformations, reflecting cultural and creative views of each period. Up to this day, the myth of Orpheus continues to allure composers` creative imagination. Within the modern and even postmodern tempestuous avatars of the myth in musical creation, the myth stays true to revealing the creator`s inner landscape, his/her reflective searching, and the nature of love between life and death. The current essay proposes a set of correlations between the essential motifs of this ancient myth and the symbols in Béla Bartók`s Bluebeard`s Castle, in a quest for answering the question whether this iconic opera of modernity could be understood, to some extent, as a new avatar of the Orpheus myth.

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31

Lisenkova, A. A., and S. V. Ryazanova. "MYTHOLOGIZATION OF THE VIRTUAL AND HEROIZATION OF THE ORDINARY IN DIGITAL SPACE." Pedagogicheskiy Zhurnal Bashkortostana 86, no. 1 (2020): 81–89. http://dx.doi.org/10.21510/1817-3292-2020-86-1-81-89.

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The article analyzes the influence of digital technologies and means of everyday experience virtualization on the mythogenesis of the modern world. The transformation of approaches to creating ideal images, to heroization and mythologization has allowed to change the approaches to the narrative of the personal experience of each virtual space member. Myth becomes a means of escape from the constant variability, fragmentation and illogicality of the surrounding world. It offers simple ways of cognitive exploration of the surrounding reality allowing people to adapt to it. This way the virtual space is transformed from a place of gaining experience to a place filled with a mass of new myths and simulacra, expressed in an infinite number of visual images. Myth-making has stimulated the emergence of a profane creativity network in the pursuit of users’ rapid popularity , while mass culture has propagated bright and simple images of the screen world, creating a new reality of simple meanings and forms, giving rise to a new mythorealism of modernity.

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Jucan, Ioana B. "The Deaths of Pan." Performance Philosophy 2, no. 1 (July 29, 2016): 141. http://dx.doi.org/10.21476/pp.2016.21108.

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Reimagining an ancient myth through a cross-temporal metaphor of a love story, this performance philosophical piece plays with language and theatrical conventions in a meditation on (dis)connection and memory in the times of the Internet and of capitalist modernity.

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Milea, Luminița. "Myth and Music - Enhancers of Balance. Between Tradition and Modernity." Theatrical Colloquia 7, no. 2 (December 1, 2017): 201–12. http://dx.doi.org/10.1515/tco-2017-0019.

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Abstract Along with literature, music, through the suggestiveness of the means of expression, manages to render in different compositional forms and genres the specific atmosphere and traits of the mythical universe. The Romanian musical creation has been dynamically asserted in an original manner over time, through the diversification of artistic means and a permanent adaptation of musical language to the aesthetic requirements of each compositional period. Skillfully wielding the processes of modern musical language, composers George Enescu, Aurel Stroe and Cornel Țăranu have given the contemporary public artistic masterpieces which impress by the personal manner of transposing into modernity the transcendent message of the myths of Oedipus and Orestes. The richness of the compositional means employed by the three composers creates bridges between antiquity and modernity, between the imaginary and the real universe.

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34

Stead, Evanghelia. "Monumental German Faust Editions in International Circulation and Multimedia Modernity." Quaerendo 50, no. 4 (November 26, 2020): 362–94. http://dx.doi.org/10.1163/15700690-12341473.

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Abstract The article (developing a paper presented at 2010 SHARP international conference) investigates the ways grand Faust editions from the 1850s and 1870s make sense as equivocal cultural objects migrating within and beyond Germany. Scholars have focused on these imposing tomes to herald the play as expression of a nation-centred claim, with Faust as heroic myth. This interpretation relied on costly plates and external characteristics for principal evidence. This article instead draws attention to circulation, transformations and fuller readings of these items, combining first-hand research in many collections. On the one hand, it looks into the editorial versions as adjustable to different audiences and cultures, using editorial data, reception evidence, and image analysis. On the other, it shows how fuller readings of a tome, based on material, symbolic and archival evidence, tell two different stories. This study of a text’s print apparel and circulation, at odds with its significance as a national myth, has implications well beyond this singular work.

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Bhaktipriya Bhargava. "Tradition and Modernity in Shashi Tharoor’s The Great Indian Novel." Integrated Journal for Research in Arts and Humanities 2, no. 4 (July 30, 2022): 125–27. http://dx.doi.org/10.55544/ijrah.2.4.68.

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Tradition nourishes culture and infuses vivacity into modernity. This effort describes how Shashi Tharoor has used myth to combine tradition with modernity to delineate essential practices of Indian civilization in The Great Indian Novel. Accordingly, this paper attempts to identify his sources and resources in order to underline his novelty, artistic imagination, and at times his deliberate deviations in interpretation of customary legacies. The use of symbols, motifs, and allusions has been highlighted to project amalgamation of tradition and modernity. The motive has been to appreciate the depiction of traditional Indian bearings and bring out essential norms, practices, belief, and rituals pertaining to Indian civilization. A note of criticism lurks in to discard descriptions describing distorted realities.

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Rezvushkina, Sofia. "The mythological in the postmodern paradigm: a historiographic study." Socium i vlast 4 (2022): 67–82. http://dx.doi.org/10.22394/1996-0522-2022-4-67-82.

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Introduction. The lexeme “myth” is ordinary for a modern person, but its meaning is a vague circle of definition. The author sets the question — how does modern man understand the myth, how does he use it, and what approaches to studying the manifestations of the mythological are used in modern science. But in order to correctly answer these questions, it is necessary to clarify the concept of “modernity”. According to the author, it is possible to correctly substantiate the concept of modernity by using the method of paradigm analysis by A.G. Dugin. In line with this approach, the concept of “modernity” is conceptually identical to the postmodern paradigm. The purpose of the study is to conduct a revision of modern literature (literature of the postmodern paradigm) devoted to the scientific study of the myth and the manifestations of the mythological in human existence, to analyze it in line with the paradigm approach. Introduce new sources into scientific circulation and, on the basis of a combination of new and existing sources, offer a detailed historiographic review of the literature. Methods. The main method used in this work is the paradigm analysis by A.G. Dugin. In addition to it, a systematic approach and general scientific methods were used — analysis and synthesis, induction, deduction, abstraction. Scientific novelty of the research. The main scientific novelty of the study is the use of the method of paradigm analysis in the study of the mythological. In addition, a number of new sources (published in the period from 2020 to 2022) dedicated to the topic of myth are being introduced into scientific circulation. Results. Within the framework of this article, more than 60 works were analyzed and, on their basis, an exhaustive historiographic review of the existing modern literature devoted to the study of myth and manifestations of the mythological in human being was made. Conclusion. Considering the presented literature in line with the paradigm approach, the author explicates the main aspects of the study of the mythological, which are characteristic of this paradigm and suggests further vectors of its development. According to the author, the myth is increasingly integrated into the digital and virtual environment, which actualizes the need to study it already in the mainstream of digital anthropology. The author also puts forward the thesis that digital literacy skills can help reduce the ideological load of the myth, which manifests itself in the digital environment in the form of fake news and other tools of hybrid wars.

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Ram, Harsha. "Masks of the Poet, Myths of the People: The Performance of Individuality and Nationhood in Georgian and Russian Modernism." Slavic Review 67, no. 3 (2008): 567–90. http://dx.doi.org/10.2307/27652940.

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Georgian and Russian modernisms engaged in a conversation that was by no means one-way and in which the chronological development and aesthetic premises of Russian symbolism became curiously inverted. Piecing together this forgotten dialogue allows us to recover a neglected crosscultural and properly Eurasian dimension of the Silver Age. Russians and Georgians alike invoked the mask as a theatrical form and myth as a narrative structure to articulate problems of individual, collective, and national identity. Mask and myth shared two distinct and somewhat incompatible genealogies, the one deriving from the Italian commedia dell'arte and the other from Friedrich Nietzsche's reading of Greek tragedy, both of which corresponded in turn to a typically Russian tension between the “decadent” and “mythopoetic” redactions of symbolism. These genealogies were critically adapted by the Georgians in an attempt to address the perceived needs of Georgian national culture. Aesthetic and philosophical problems concerning the semiotics of the name, the nature of the poetic persona, and the structure of myth came to be related to wider questions proper to an era of crisis and transition: modernity and historical belatedness, the dynamics of cultural importation, the gendered nature of nationhood, and the vexed relationship between popular culture and modernism as an elite cultural formation.

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Kaushall, Justin Neville. "The Death of Moran's Bees: Beckett and Adorno on the Dialectic of Subject and Object." Journal of Beckett Studies 30, no. 2 (September 2021): 156–73. http://dx.doi.org/10.3366/jobs.2021.0338.

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In this article I argue that Adorno's dialectical principle that reason and nature co-constitute each other is evidenced in Beckett's novel Molloy. Adorno argues that reason regresses to myth – that is, it becomes irrational and reified – in modernity; and that, conversely, myth shows itself to be rational – that is, myth reveals that it has already inhabited enlightenment. In Molloy, Moran relies on dubious positive metaphysical principles in an attempt to spiritualise his bees; however, such spiritualisation leads directly to their death, because his experience of the bees is undialectical and static. Thus instead of the uncritical reproduction of conventional metaphysical principles, metaphysics must show itself to be damaged by historical events.

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Pellegrino, Pierre. "L'architecture, tradition et modernité : le mythe de la montagne perdue / Architecture, tradition and modernity : the myth of the disappearing mountain landscape." Revue de géographie alpine 84, no. 3 (1996): 109–17. http://dx.doi.org/10.3406/rga.1996.3874.

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Melotti, Marxiano. "In Search of Atlantis: Underwater Tourism between Myth and Reality." AP: Online Journal in Public Archaeology 4 (January 6, 2017): 95. http://dx.doi.org/10.23914/ap.v4i0.45.

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In post-modernity, the millenarian search for mythical sites has become a tourist attraction and the process of culturalization of consumption has created and is creating a new global heritage. Places already celebrated for leisure have been reinvented as mythical and archaeological sites. A good example is the Atlantis Hotel on Paradise Island, in the Bahamas. Here, Plato’s mythical Atlantis has inspired an underwater pseudo-archaeological reconstruction of a civilization that most likely had never existed. The myth-making force of the sea transforms the false ruins and affects how they are perceived. This is quite consistent with a tourism where authenticity has lost its traditional value and sensory gratifications have replaced it. A more recent Atlantis Hotel in Dubai and another one under construction in China show the vitality of this myth and the strength of the thematization of consumption. Other examples confirm this tendency in even more grotesque ways. At the core of this process there is the body: the tourist’s and the consumer’s body. The post-modernity has enhanced its use as tool and icon of consumption.

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Caldecott, Stratford. "Defending Middle-Earth: Tolkien: Myth and Modernity, by Patrick Curry." Chesterton Review 24, no. 1 (1998): 110–12. http://dx.doi.org/10.5840/chesterton1998241/212.

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Aouragh, Miriyam. "Framing the Internet in the Arab Revolutions: Myth Meets Modernity." Cinema Journal 52, no. 1 (2012): 148–56. http://dx.doi.org/10.1353/cj.2012.0120.

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Sachs, Carl. "The ideology of modernity and the Myth of the Given." Philosophy & Social Criticism 41, no. 3 (December 24, 2014): 249–71. http://dx.doi.org/10.1177/0191453714563876.

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MORRISON, K. A. "Myth, Remembrance, and Modernity: From Ruskin to Benjamin via Proust." Comparative Literature 60, no. 2 (January 1, 2008): 125–41. http://dx.doi.org/10.1215/-60-2-125.

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Aching, Gerard. "The Inverted Conquest: The Myth of Modernity and the Transatlantic Onset of Modernism (review)." Hispanic Review 79, no. 3 (2011): 497–500. http://dx.doi.org/10.1353/hir.2011.0034.

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Salgado, María A. "The Inverted Conquest. The Myth of Modernity and the Transatlantic Onset of Modernism (review)." Hispanófila 162, no. 1 (2011): 92–94. http://dx.doi.org/10.1353/hsf.2011.0002.

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Stromback, Dennis. "Epistemological resistances and the search for alternatives to modernity in intellectual history." Resistances. Journal of the Philosophy of History 2, no. 4 (November 24, 2021): e21056. http://dx.doi.org/10.46652/resistances.v2i4.56.

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The violence of modernity has led to epistemological resistances around the world and the search for alternative ways of reconstructing philosophy. Among the Frankfurt School and early Kyoto School thinkers, for instance, the problem of modernity is framed as an excess of objective rationality, but among the decolonial thinkers of Latin America, the problem is conceptualized as the very myth of modernity itself that has legitimized the colonization and exclusion of non-Europeans. In the search for alternatives modernities, the Kyoto School and Latin American philosophy agree to a vision of inter-civilizational dialogue, which amounts to an engagement of alterity or differences, whereas with the Frankfurt School, albeit struggles to find consensus on how to overcome modernity, aims to merely preclude the problem of reproducing the impulses toward the domination of oneself and others. Nonetheless, all these paradigms have a theoretical point of convergence: that is, since we are all participants of modernity, we are both victims and executioners of its violence, and thus compelled to negate it. This article will discuss how the violence of modernity is experienced, theorized, and then challenged around different continents in order to make visible not just how the violence of modernity is reproduced in different ways but to force ourselves to engage in self-critique in the pursuit to make explicit our own assumptions that repeats the violence of modernity.

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Wang, Ban. "Old Dreams Retold." Prism 17, no. 2 (October 1, 2020): 225–43. http://dx.doi.org/10.1215/25783491-8690372.

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Abstract As a champion of May Fourth enlightenment and a critic of Chinese tradition, Lu Xun is less understood as a prescient critic of the myth of science and technological rationality. Walter Benjamin invoked the utopian reconciliation of humans and nature from premodern culture in critiques of modernity. Similarly, Lu Xun conjured up images of the ancient world where rural folks lived in reciprocity with nature, worshiped supernatural beings, and observed time-honored rituals. Lu Xun linked the myth of progress and technology to a destructive chorus of “malevolent voices” by a hypocritical gentry, a technocratic elite that sought power, status, and profit in the name of enlightenment and rationality. He proclaimed that it is urgent to “rid of ourselves of this hypocrite gentry; ‘superstition’ may remain.” Invoking Benjamin's insight and affinity with Lu Xun, this article explores the Chinese writer's recovery of the mythical and ecological images from the past in the critique of modernity. Confronted with the fetishism of progress and technology in China's early modernization, Lu Xun sought to uncover and redeem primordial images from archaic traditions.

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Kambourov, Dimitar. "Hristo Botev: The Ekstasis of Non-Belonging and the Route to Modernity." arcadia 52, no. 1 (May 24, 2017): 51–73. http://dx.doi.org/10.1515/arcadia-2017-0004.

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AbstractBulgarian literature of the 19th century, although widely unknown abroad, is decisive for the formation of Bulgarian national identity. In this respect, the authority of the ‘national poet’ Hristo Botev has been uncontested for 140 years. Botev has created the Bulgarian mytho-poetic narrative and imposed it as a set of political, social and ethical principles, crystalized to a corrective. Yet, Botev’s poetic agenda is contradictory. His nationalism, based on natural belonging to the people, kin and family, is persistently extended towards social criticism and a utopian longing for class equality. Thus, the prior national unity appears subverted: the representatives of the elite are stigmatized as non-belonging to the nation per se, to ‘the people,’ a collective subject, enslaved, suffering, passive, and mute. Such an irresolvable contradiction between the two struggles – for national liberation and for social emancipation – is additionally complicated by Botev’s third, most intimate longing – for personal unbinding that would take the radical form of self-emerging beyond any kinship and class affiliation. Thus, the mytho-poetic figure of an apocalyptic Motherland had to be re-articulated as the eternal ‘There’ of a coveted death. Finally, Botev’s self-victimization, orchestrated as a rebel raid, is his response to the fallen heroes and their failed sacrifice. Bulgaria’s most powerful national poet gave birth to a national myth of the genius who voluntarily gave up poetry and joined the masses by embracing their role of a victim.

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REDDY, WILLIAM M. "THE PARADOX OF MODERNITY: CURRENT DEBATES AND THEIR IMPLICATIONS FOR THE SEVENTEENTH CENTURY." Modern Intellectual History 14, no. 1 (April 2, 2015): 217–56. http://dx.doi.org/10.1017/s1479244315000062.

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Talk of modernity is plagued with paradox. A relativist stance towards modernity—the claim, for example, that modernity is just one cultural configuration among others—seems to contradict itself. The concept of “cultural configuration,” and similar notions (such as “language game,” “discourse,” “community,” or “myth”), are themselves the products of modern intellectual research and debate. If the relativist claim is true, it appears to undermine the validity of those very conditions of modern intellectual debate that make the claim thinkable. But to argue for modernity's superiority over other cultural configurations seems equally problematic. If the criteria of superiority are themselves modern, then the argument appears question-begging. But if the criteria are not modern, then these non-modern criteria (by which the superiority of the modern can be discerned) would appear themselves to be superior to modern criteria.

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