Journal articles on the topic 'Mythic structure'
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Clayton, Sue. "Mythic Structure in Screenwriting." New Writing 4, no. 3 (November 12, 2007): 208–23. http://dx.doi.org/10.2167/new571.0.
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Rubenstein, Jeffrey L. "From Mythic Motifs to Sustained Myth: The Revision of Rabbinic Traditions in Medieval Midrashim." Harvard Theological Review 89, no. 2 (April 1996): 131–59. http://dx.doi.org/10.1017/s0017816000031953.
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Recent years have witnessed a growing interest in the mythic dimension of rabbinic thought. Much of this work emerged from debates between scholars of Jewish mysticism over the origins of kabbalistic myth. Should these origins be sought in external traditions that influenced medieval Judaism or within the rabbinic tradition? As is well known, Gershom Scholem claimed that the rabbis rejected myth in order to forge a Judaism based on rationality and law. Moshe Idel, on the other hand, argues that mythic conceptions and specifically the mythicization of Torah appear in rabbinic literature. While the medieval kabbalists elaborated and developed these ideas, they inherited a mythic worldview from the rabbis. Scholars are now increasingly likely to characterize many classical rabbinic sources as mythic. Medieval myth need not have been due to external influence, but should be seen as an internal development within Judaism. Despite the appearance of mythic thought in rabbinic literature, however, a tremendous gulf remains between rabbinic and kabbalistic myth. The full-blown theogonic and cosmogonic myths of the kabbalists, the complex divine structure of the Sefirot, and the detailed expressions of the theurgic effect of ritual (that is, the effect that specific rituals have upon God or the Sefirot) represent a mode of mythic thinking far more comprehensive than that of the rabbis. In rabbinic literature one finds mythic motifs—succinct, independent, and self–contained expressions—not fully developed myths. How exactly did rabbinic myth develop into medieval mystical myth?
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Chen, Fanfan. "The Narrative Rhetoric in Léa Silhol’s La Tisseuse: Contes de Fées, contes de Failles." Arcadia 47, no. 1 (July 2012): 78–107. http://dx.doi.org/10.1515/arcadia-2012-0003.
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AbstractThe diversity of contemporary French narration renders the canonical definition of le fantastique useless. Writers challenge Todorov’s definition that the fantastic emerges as the reader hesitates between the supernatural and the natural explanation for the unlikely event. Léa Silhol (1967), a storyteller of mythic-poetic-fantastic style, figures among these writers. An inheritor of romantic fantastic storytelling, Silhol delves into the mental and psychic depth of legendary figures, mostly goddesses and fairies, to make them question their own identity and observe humans from their perspective. Her feminine and universal writing about the fantastic exemplifies the new-generation French fantastic. Like the mythic tisseuse in her tales, Silhol weaves stories with a new texture, with an imaginary étoffe. Just as the mythic and legendary weavers are associated with water, she makes use of it to achieve her verbal alchemy, the narrative rhetoric of which operates from three angles: mythic, structural, and stylistic. Silhol’s transtextual writing of myths from different cultures creates mythic résonance of the collective unconscious from linguistic différance. The narrative structure of the tales embodies the inversion of vision in Bachelardian alchemy of the imagination. Lastly, a scrupulous analysis of the author’s diction that corresponds with the thematic threading of tales and their narrative structure will illustrate her dominant style of harmonism.
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Shambaugh, Philip Wells. "The Mythic Structure of Bion's Groups." Human Relations 38, no. 10 (October 1985): 937–51. http://dx.doi.org/10.1177/001872678503801002.
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Skikaitė, Izabelė. "The Mythic Structure of Olga Tokarczuk’s Novel Flights." Colloquia 49 (July 19, 2022): 103–24. http://dx.doi.org/10.51554/coll.22.49.06.
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Olga Tokarczuk’s Flights consists of fragments of different genres which narrate different stories. Although literary scholars have stressed the unusual nature of novel’s structure, the question of what it means remains unanswered. The aim of this article is to reveal the novel’s semantic universe and to examine how the sections that tell different stories relate to each other.The article reveals the system of values, based on the framework of static vs. dynamic, linking the characters in the novel. Using the concept of the modern pilgrimage, the author of the article answers the question of how the opposing values are matched. In accomplishing it, the attention is paid not only to the content but also to the dimension of expression, i.e. how the work is constructed. The conclusion has been drawn that the narrative episodes are linked to the principle of metonymy, i.e. the relationship between the part and the whole, described by Roman Jakobson. In Tokarczuk’s novel, different stories are juxtaposed or contrasted with each other, depending on the recurring inter- and intra-corporeal connections. Lévi-Strauss’s notion of myth allowed the author to observe that the narratives in the novel resemble fragments of myth, and that Flights functions as a contemporary myth, where the structure encodes the issue of man’s relationship to others and themselves and the pain that results from it.
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Meir Dviri, Mina. "When does the ritual of mythic symbolic type start and when does it end?" Semiotica 2018, no. 225 (November 6, 2018): 141–65. http://dx.doi.org/10.1515/sem-2017-0032.
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Abstract Mythic symbolic type is a unique cultural structure that permits no exit to the one who has lost his “self” to it. The semi-commune Little Home housed a community of mythic symbolic types which engendered a ritual of their own in which the men trapped within the type moved between its two edges, purity and impurity. But since there is no exit from the type, the question is how and when the ritual begins and ends? What kind of ritual is the mythic symbolic type’s? As an answer, the following article presents an ethnography of the ritual in the semi-commune Little Home where mythic symbolic type was found, and a conceptual map of this world with the help of Bateson’s play paradox and a self-correcting model.
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Wu, Meng-Hsuan, and Ya-huei Wang. "Using Mythic Structure of Campbell’s Monomyth to Analyze Spirited Away: A Heroine’s Journey." Metathesis: Journal of English Language, Literature, and Teaching 6, no. 1 (May 23, 2022): 12–27. http://dx.doi.org/10.31002/metathesis.v6i1.138.
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This study intends to examine the stages of the hero’s journey based on the mythic structure of Campbell’s monomyth and use the monomyth to analyze how a ten-year-old girl, Chihiro, embarks on a journey to the supernatural world in Spirited Away. The study uses content analysis, a descriptive qualitative method, to analyze the monomyth: a departure–initiation–return journey covering seventeen stages. The monomyth involves metamorphoses and challenges that the heroine Chihiro encounters and explores her evolution during her transition to full autonomy in order to reach transformation and self-individuation. Chihiro, in order to rescue her parents, is destined to take the journey: to sink into darkness, the unconscious, and encounter her natural and primitive essence. By fighting against conflict or opposition, Chihiro, as a mythical heroine, completes her monomyth cycle and attains transformation and regeneration.
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Fores, Michael, and Leonard P. Wessell. "Prometheus Bound: The Mythic Structure of Karl Marx's Scientific Thinking." Technology and Culture 29, no. 2 (April 1988): 298. http://dx.doi.org/10.2307/3105538.
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Sayre, Robert, and Leonard P. Wessell,. "Prometheus Bound: The Mythic Structure of Karl Marx's Scientific Thinking." Studies in Romanticism 26, no. 4 (1987): 606. http://dx.doi.org/10.2307/25600686.
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Fuchs, Elinor. "Mythic Structure in Hedda Gabler: The Mask Behind the Face." Comparative Drama 19, no. 3 (1985): 209–21. http://dx.doi.org/10.1353/cdr.1985.0004.
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Sharma, Dr Shreeja Tripathi. "The Monomyth of Vikramaditya." SMART MOVES JOURNAL IJELLH 8, no. 3 (March 28, 2020): 13. http://dx.doi.org/10.24113/ijellh.v8i3.10626.
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The legendary king Vikramaditya, revered in India as an epitome of valour and justice is an enigmatic paradox of historical reality and mythic truth. Despite several textual references, his historical presence, is ambiguous and lacking in epigraphic evidence. The credibility of the Vikramaditya legend has often been disregarded by factual historians sniffing and screening out elements of fantasy in the tales. However, the eternal spirit of Vikramaditya is beyond what eyes can see and beyond what the mind can prove. While from a historical standpoint an accurate account of the King would inevitably remain incomplete, Vikramaditya, the archetypal hero is absolute and ephemeral. His identity as an archetypal the hero, typically confirms to the archetypal structure of the ‘mono-myth’ and is analogous to mythic parallels of several cultures. This paper undertakes to examine king Vikramaditya with respect to the archetypal manifestation of his existence, in the mythic perspective.
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Peterson, Tarla Rai. "Jefferson's yeoman farmer as frontier hero a self defeating mythic structure." Agriculture and Human Values 7, no. 1 (December 1990): 9–19. http://dx.doi.org/10.1007/bf01530599.
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Park, Kyung-Ae. "Japanese Mythic Imaginaries and the Symbolic Structure of Traditional Space Designs." Korean Institute of Interior Design Journal 24, no. 3 (June 30, 2015): 79–86. http://dx.doi.org/10.14774/jkiid.2015.24.3.079.
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Pezzoli-Olgiati, Daria. "Erkundungen Von Gegenwelten: Zur Orientierungsleistung «mythischer» Reisen Am Beispiel Zweier Mesopotamischer Texte Erkundungen Von Gegenwelten: Zur Orientierungsleistung «mythischer» Reisen Am Beispiel Zweier Mesopotamischer Texte." Numen 52, no. 2 (2005): 226–54. http://dx.doi.org/10.1163/1568527054024740.
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AbstractThe present article focuses on the function of mythic journeys with regard to the problem of death and the transience of human life in two selected Mesopotamian literary sources: the Gilgamesh-Epic IX–XI and the Descent of Ishtar to the Underworld. The selected texts are analysed and compared from the perspective of a functionalist definition of religious symbol systems, with particular attention to the transformation involved in travelling through different cosmic regions. The structure of the journey, the characterisation of the different regions visited by the protagonist, and the changes provoked by the mythic travel evince similarities and differences in the strategies employed to produce a religious orientation dealing with the ineluctable limits of life.
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Caliva, Kathryn. "Speech Acts and Embedded Narrative Structure in the Getty Hexameters." Archiv für Religionsgeschichte 17, no. 1 (December 1, 2016): 139–64. http://dx.doi.org/10.1515/arege-2015-0009.
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Abstract The Getty Hexameters are an enigmatic text that reveals a conception of the pragmatic force underlying mythic narratives. Although some scholars have concluded that the text is a composite of multiple spells, this paper argues for reading the text as a unified narrative marked by a hierarchy of authoritative speech acts that draw on the authority of three apotropaic divinities: Paean, Hecate, and Heracles. These layers of narrative acts follow a sequence of revelation, mythological analogy, and aitiology, all of which come together to demonstrate the efficacy of the text as an apotropaic charm.
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O'Connell, Robert H. "Isaiah XIV 4B-23: Ironic Reversal through Concentric Structure and Mythic Allusion." Vetus Testamentum 38, no. 4 (October 1988): 407. http://dx.doi.org/10.2307/1519285.
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O'Connell, Robert H. "Isaiah Xiv 4B-23: Ironic Reversal Through Concentric Structure and Mythic Allusion1." Vetus Testamentum 38, no. 4 (1988): 407–18. http://dx.doi.org/10.1163/156853388x00201.
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Schecter, David L. "Mythic Structure Theory: Proposing a New Framework for the Study of Political Issues." Politics & Policy 33, no. 2 (June 2005): 221–41. http://dx.doi.org/10.1111/j.1747-1346.2005.tb00641.x.
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Kokhan, Tymofii. "Mythic Plots: the Experience of the Movie Interpretation." Culturology Ideas, no. 14 (2'2018) (2018): 44–51. http://dx.doi.org/10.37627/2311-9489-14-2018-2.44-51.
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The article states that the actor’s mastering of the role is structurally divided into several stages, at each of which there is a certain accumulation of knowledge about the character of the play. The main theories of the structure of the creative process are illuminated in the theories of the three-act by P. Engelmayer, the three-stage model of A. Poincaré, and the four-stage model of creative thinking by G. Wallace, E. Getchinson. The imagination and creative activity of a person depend on the diversity of his previous experience, represented by the material from which the constructions of the presentation are created. It is noted that the most important feature of the imagination is its striving for embodiment. The actor designs the future physical embodiment of the character’s stage image. It is concluded that the imagination is constructed from the thoughts and visions of a person, simultaneously or alternately covering his mind. The actor profession is dominated by the emotional connection between the activity of the imagination and the act of reincarnation. The peculiarity of the actor’s imagination is the creative experience of the actor, and not his personal one. Imagination works in the preparatory analytical stage of the role as the accumulation of former emotional traces. In the process of implementing the role, these traces come to life, which leads to the act of reincarnation in the role.
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Real, Michael R., and Robert A. Mechikoff. "Deep Fan: Mythic Identification, Technology, and Advertising in Spectator Sports." Sociology of Sport Journal 9, no. 4 (December 1992): 323–39. http://dx.doi.org/10.1123/ssj.9.4.323.
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The relationship between the media sports fan and the sporting event closely parallels the position of the ritual participant acting out a mythic celebration. Such identification between the viewer/participant and the event has been characterized as “deep play” by Geertz (1973). However, this fan experience in the modem era is shaped not just by human face-to-face interaction, as was Geertz’s famous Balinese cockfight; instead, a specific media technology and commercial advertising provide the structure through which the public accesses media sports. This study examines grounded data on audience size and composition, advertising, commercial infrastructure and incentives, and other institutional aspects of the political economy of mass-mediated sport. What do cultural and ritual theory contribute to our understanding of the mass-mediated sports experience of today’s “deep fan”?
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Sturm, Douglas. "Prometheus Bound: The Mythic Structure of Karl Marx's Scientific Thinking. Leonard P. Wessell, Jr." Journal of Religion 66, no. 2 (April 1986): 216–17. http://dx.doi.org/10.1086/487374.
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Brown, Norman O. "To Greet the Return of the Gods: A Guide for Teachers." boundary 2 49, no. 3 (August 1, 2022): 177–204. http://dx.doi.org/10.1215/01903659-9789850.
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Abstract In this introduction to the Book of Ours student manual and its accompanying lectures and workshops, Norman O. Brown discusses processes for transforming the structure, dynamics, and spirit of conventional large-enrollment undergraduate courses. Brown maps the aims and intentions of the Book of Ours project as a recreation of “mythic consciousness by mythopoeic activity,” and in this way lays out a path to a more “poetical and sacred” style of academic engagement.
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Bradbury, J. G. "Charles Williams’s Arthuriad: Mythic Vision and the Possibilities of Belief." Journal of Inklings Studies 1, no. 1 (April 2011): 33–46. http://dx.doi.org/10.3366/ink.2011.1.1.5.
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This essay explores Charles Williams’s use of the Arthurian myth to sustain a religious worldview in the aftermath of sustained attacks on the relevance and veracity of Christian belief in the early twentieth century. The premise to be explored is that key developments in science and philosophy made during the nineteenth and early twentieth centuries resulted in a cultural and intellectual milieu in which assertions of religious faith became increasingly difficult. In literary terms this became evident in, amongst other things, the significant reduction in the production of devotional poetry. By the late 1930s the intellectual environment was such that Charles Williams, a man of profound religious belief who might otherwise have been expected to produce devotional work, turned to a much older mode, that of myth, that had taken on new relevance in the modern world. Williams’s use of this mode allowed him the possibility of expressing a singularly Christian vision to a world in which such vision was in danger of becoming anathema. This essay examines the way in which Williams’s lexis, verse structure, and narrative mode builds on his Arthurian source material to allow for an appreciation of religiously-informed ideas in the modern world.
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Fedosova, Maria. "WHY HEROES FAIL: NATIONAL IDENTITY IN JIN YONG'S MARTIAL ARTS NOVEL THE BOOK AND THE SWORD." Fìlologìčnì traktati 13, no. 1 (2021): 124–31. http://dx.doi.org/10.21272/ftrk.2021.13(1)-12.
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Martial arts fiction presents a number of signs that define Chinese cultural separateness and reflect national identities of Chinese communities around the world. In this paper, we select the novel The Book and the Sword of Jin Yong, the most celebrated martial arts author, to analyze how the wuxia conventions can be applied to represent the formation of a new emigrant identity under the foreign rule and under the influence of abandoned Mainland China. Setting his novels in the mythical past allows Jin Yong to freely discuss the cultural, social and political circumstances of his present that contribute to the configuration of this new national identity. Examining comparative studies on martial arts fiction, we note that moral codes of Chinese chivalrous swordsmen and Western knights-errant do not differ significantly; moreover, these heroic images remain similar in different cultures and pertain to the universal mythic structure. We argue that the modified hero myth expressed in a work of national fiction always represents a cultural identity of a particular nation, a certain symbol through which the nation perceives itself and introduces itself to others. Although national identity is an imaginary construction that does not comprehensively reflect reality, each member of the nation (a native or diasporic resident) recognizes values and truths communicated through mythic storytelling. We show that national identity in the analyzed novel is not a stable concept and individuals can change their political loyalties depending on the circumstances or their preferences, but regardless of their ethnical origin. We conclude that the novel relates the failure of the nationally aware elite to establish self-governing within the state in order to defend their national identity from the foreign politically dominant group.
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Marion, Marie-Odile, and Doris Heyden. "The Structure of Mythic History among MesoamericansMythes et rituels du Mexique ancien préhispanique. Michel Graulich." History of Religions 30, no. 2 (November 1990): 220–21. http://dx.doi.org/10.1086/463226.
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Kimball, A. Samuel. "Not Begetting the Future: Technological Autochthony, Sexual Reproduction, and the Mythic Structure of The Matrix." Journal of Popular Culture 35, no. 3 (December 2001): 175–203. http://dx.doi.org/10.1111/j.0022-3840.2001.3503_175.x.
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Rosati, Massimo. "The archaic and us." Philosophy & Social Criticism 40, no. 4-5 (April 29, 2014): 363–68. http://dx.doi.org/10.1177/0191453714528406.
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This article is based on a paper given in December 2013 at a German–Italian workshop on Jürgen Habermas’ theory. Massimo Rosati had been studying Jürgen Habermas’ thought and classical sociology in the Durkheimian tradition for years. Because of his own Durkheimian reading of communicative action, he had been unsurprised when Habermas began to write systematically on religion. In this article, he addresses the new post-secular sensitivity to the remnants of mimetic and mythic worldviews within theoretical ones and discusses the sacred as a universal historical structure of human consciousness.
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Kitch, Carolyn. "“A Death in the American Family”: Myth, Memory, and National Values in the Media Mourning of John F. Kennedy Jr." Journalism & Mass Communication Quarterly 79, no. 2 (June 2002): 294–309. http://dx.doi.org/10.1177/107769900207900203.
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This article provides narrative and rhetorical analysis—considering structure, language, and emphases in content and presentation—of journalistic coverage of the 1999 death and funeral of John F. Kennedy Jr. It contends that, because of JFK Jr.'s particular symbolic role in the Kennedy story, journalists explained his significance in terms of cultural and mythic themes, including family and nation, tragedy and hope, and sacrifice and redemption. The evidence comes primarily from newsmagazines, which have played a key role in the construction of “the Kennedy myth” for forty years.
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Svyrydenko, O. M. "NAME MIPHOLOGY AND ITS FUNCTION IN THE STRUCTURE OF E.T.A. HOFFMAN’S AND O. STOROZHENKO’S MYTHIC WORLD." Тrаnscarpathian Philological Studies 2, no. 14 (2020): 186–90. http://dx.doi.org/10.32782/tps2663-4880/2020.14-2.34.
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SLOBIN, MARK. "Constructed Melodies: Building the Score into the Set." Journal of the Society for American Music 10, no. 2 (May 2016): 181–97. http://dx.doi.org/10.1017/s1752196316000067.
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AbstractThe article introduces the topic of film music's relationship to the built environment of cinema. The discussion springboards from James Sanders's analysis of New York City sets, based on the architecture of selected movies (mostly from the 1930s and 40s), as presented in his Celluloid Skyline. The focus is on four locations: the brownstone façade, the working-class street, the enclosed courtyard, and the construction site. The argument is that two key components of American cinema's structure—music and architecture—are sometimes in direct dialogue, as composers and filmmakers both render New York ethnographically accurately and offer sometimes a mythic imagining of a particular place.
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Jensen, Lionel M. "Wise Man of The Wilds: Fatherlessness, Fertility, and the Mythic Exemplar, Kongzi." Early China 20 (1995): 407–37. http://dx.doi.org/10.1017/s0362502800004570.
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There is no more salient figure in early Chinese literature than Kongzi and yet he remains a figure about whose beginnings we know very little. The present essay explores this paradox of bibliographic salience and biographic silence through an in-depth examination of the principal narratives of the Kongzi legend from the Shiji and the Kongzi jiayu, paying particular attention to the language of their respective accounts of the birth of the sage. Finding a distinct lack of fit between the form and content of these these stories, I propose a narrative alternative drawn from the early Han weishu accounts of Kongzi's beginnings. Finding in this alternative a more coherent fit between language and narrative structure as well as recurrent themes such as divine visitation, infertility, jiaomei sacrifice, and cranial disfigurement, vestiges of which are also found in the accounts of Wang Su and Sima Qian, the essay suggests that the weishu texts preserve a fuller popular legend of fertility sacrifice by the childless coordinated with the winter solstice also present in the very name Kongzi and resonating with the charter myth of the Zhou, “Sheng min.” The evident implication of this finding is that the historicity of Kongzi is arguable. The name is more like a mythic literary fiction and probably began, as did that of Hou Qi, as a symbolic deity that was made historical in one of its many Warring States incarnations, that one transmitted to us exclusively through the normative biographical tradition.
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SEN, UDITI. "The Myths Refugees Live By: Memory and history in the making of Bengali refugee identity." Modern Asian Studies 48, no. 1 (May 9, 2013): 37–76. http://dx.doi.org/10.1017/s0026749x12000613.
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AbstractWithin the popular memory of the partition of India, the division of Bengal continues to evoke themes of political rupture, social tragedy, and nostalgia. The refugees or, more broadly speaking, Hindu migrants from East Bengal, are often the central agents of such narratives. This paper explores how the scholarship on East Bengali refugees portrays them either as hapless and passive victims of the regime of rehabilitation, which was designed to integrate refugees into the socio-economic fabric of India, or eulogizes them as heroic protagonists who successfully battled overwhelming adversity to wrest resettlement from a reluctant state. This split image of the Bengali refugee as both victim and victor obscures the complex nature of refugee agency. Through a case-study of the foundation and development of Bijoygarh colony, an illegal settlement of refugee-squatters on the outskirts of Calcutta, this paper will argue that refugee agency in post-partition West Bengal was inevitably moulded by social status and cultural capital. However, the collective memory of the establishment of squatters’ colonies systematically ignores the role of caste and class affiliations in fracturing the refugee experience. Instead, it retells the refugees’ quest for rehabilitation along the mythic trope of heroic and masculine struggle. This paper interrogates refugee reminiscences to illuminate their erasures and silences, delineating the mythic structure common to both popular and academic refugee histories and exploring its significance in constructing a specific cultural identity for Bengali refugees.
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Солдатова, Галина Евлампьевна. "Personal Mythic-Ritual Tunes in the Culture of the Ob-Ugrians." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 1 (April 24, 2021): 27–38. http://dx.doi.org/10.26158/tk.2021.22.1.002.
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Статья посвящена персональным мифоритуальным наигрышам - феномену культуры обских угров (хантов и манси). Автором систематизированы нотные записи и аудиоматериалы из опубликованных и неопубликованных источников, в том числе полевых материалов, собранных на обском Севере в экспедициях 1980 - 2000-х гг. В репертуаре обско-угорских музыкантов есть два блока наигрышей. В первый входят мелодии божеств и духов-покровителей, в том числе медведя. Второй включает разнообразные наигрыши, связанные с людьми и животными: танцевальные (они различают людей по этнолокальному, половозрастному признакам); изображающие трудовые процессы; показывающие повадки и голоса животных; инструментальные «транскрипции» песен; входящие в состав повествований. Большинство инструментальных мелодий звучат во время проведения обряда: медвежьего праздника, шаманского сеанса, жертвоприношения. Персональные мифоритуальные наигрыши посвящены конкретному божеству или духу-покровителю, исполняются только на струнном инструменте и только мужчиной. Локальное распределение таких наигрышей показывает следующее: мелодии божеств, общих для хантов и манси, есть во всех группах обских угров; наделение духов-покровителей собственными мелодиями носит системный характер у манси, причем в сыгвинской и верхнелозьвинской традициях данный феномен выражен особенно ярко. Каждое божество через музыкальную характеристику становится узнаваемым, это достигается благодаря устойчивым мелодико-ритмическим оборотам в структуре наигрышей и общности мелодического фонда персональных наигрышей для разных обрядов. Феномен персональных мифоритуальных наигрышей описан впервые в музыкальном угроведении. Полученные результаты необходимы для проведения компаративных исследований народных музыкальных культур, взаимосвязей музыки и ритуала. This article is devoted to personal mythological melodies (naigryshi) - a phenomenon of the culture of the Ob-Ugrians (Khanty and Mansi). The author systematizes musical notes and audio materials from published and unpublished sources, including field materials collected in the Ob North during the expeditions of the 1980s-2000s. In the repertoire of Ob-Ugric musicians there are two groups of tunes. The first includes melodies of deities and patron spirits, including the bear. The second includes tunes from a variety of games related to people and animals: dances (which distinguish people by ethno-local, gender and age characteristics); depictions of labor processes; those showing the habits and voices of animals; instrumental “transcriptions” of songs; and tunes included in narratives. Most of the instrumental melodies are played during rituals - the bear festival, shamanic sessions, sacrifices. Personal mythological tunes are dedicated to a specific deity or patron spirit and are performed only on a stringed instrument and only by a man. The tunes are distributed locally in the following ways: the melodies of deities common to the Khanty and Mansi are found in all groups of the Ob-Ugrians; the endowment of patron spirits with their own melodies is characteristic of the Mansi, and this phenomenon is particularly pronounced in the Sygvin and Verkhnelozvin traditions. Each deity becomes recognizable through a musical characteristic. This is achieved via stable melodic-rhythmic turns in the structure of the tunes and a common melodic fund of personal tunes for different rites. For the first time in Ugric musical studies the article describes the phenomenon of personal mythic-ritual tunes. This is necessary for conducting comparative studies of folk musical cultures and for understanding the interrelationships of music and ritual.
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Yang, Byung-hyun. "The Mythic Structure of The Lord of the Rings and the Significance of the Ring as ‘An Anti-Sacrament’." Literature and Religion 20, no. 4 (December 30, 2015): 87–106. http://dx.doi.org/10.14376/lar.2015.20.4.87.
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Kennedy, Mary Catherine. "Signs of Contradiction: Understanding the Church, the Papacy, and the World around Us through a Textual Analysis of HBO’s The Young Pope." Journal of Religion, Media and Digital Culture 9, no. 3 (December 10, 2020): 279–300. http://dx.doi.org/10.1163/21659214-bja10002.
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Abstract This paper examines hbo’s The Young Pope through a cultural approach and ritual view to communication first developed by James W. Carey (2009). After a discussion of mediatization of society and its impacts on culture, the essay explores the deeper meanings The Young Pope conveys about self-discovery and the power of love through a textual analysis of the mythic structure of the hero’s journey (Campbell, 1949/2008; Kluckhohn, 1959) in order to understand how religious belief systems and media content paired together can offer a particular view of the world to those who ascribe to them. Ultimately, this paper serves as a piece of media criticism that suggests that television series like The Young Pope can operate as “sites of interpretive struggle” (Peterson, 2008, p. 119) for viewers as they draw conclusions about and question the world around them.
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Vuković, Krešimir. "Silvia’s Stag on the Tiber." Mnemosyne 73, no. 3 (December 4, 2019): 464–82. http://dx.doi.org/10.1163/1568525x-12342697.
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Abstract Much has been written on the various aspects of casus belli in Aeneid 7, but the setting of the episode (in which Ascanius shoots a stag with great horns) remains unclear. This paper proposes a new reading of this crucial juncture by situating it on the river Tiber and contextualizing the fluvial setting within the wider structure of books 7-9. The role of the Tiber is significant because the Italian landscape is a major theme in the second half of the epic and the Tiber features in several key episodes, e.g. Tiberinus appears to Aeneas and directs him to the site of Rome. The history of the river is tied up with the larger history of early Latium. The river shares many affinities with the stag in terms of legal status, visual representation, and mythic significance.
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Drønen, Tomas Sundnes. "'And it is Really Thanks to You that We Are Saved …' An African Discourse on Conversion and the Creation of a Modern Myth." Exchange 36, no. 2 (2007): 156–83. http://dx.doi.org/10.1163/157254307x176589.
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AbstractThis article seeks to analyse why young members of the Dii people in Adamawa, Northern Cameroon, in middle decades of the 20th century converted to Christianity, presented to them by Norwegian missionaries. Through the Dii discourse curiosity connected to the new message, importance of the mission schools, the attitude of the missionaries, and the importance of improved social status are presented as reasons behind conversion. In addition, Dii self-narration presents liberation from social oppression, from the Muslim dominant Fulbe and the French colonial administration, as the main reason behind the Dii change of plausibility structure. In order to legitimise the social and religious changes that followed acceptance of Christianity, the Norwegian missionaries were turned into mythic heroes of liberation and used by the new Dii elite to strengthen ethnic boundaries through a Dii 'construction' of recent historical past.
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Balkaran, Raj. "Visions and Revisions of the Hindu Goddess: Sound, Structure, and Artful Ambivalence in the Devī Māhātmya." Religions 10, no. 5 (May 14, 2019): 322. http://dx.doi.org/10.3390/rel10050322.
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The Hindu Goddess makes her Brahmanical debut circa 5th century CE in the Sanskrit narrative work Devī Māhātmya, the “Greatness of the Goddess” (henceforth DM). This monumental mythic moment enshrines the first Indic articulation of ultimate divinity as feminine. That she is perennially feminine and ever omnipotent, there can be no doubt. But how do we further characterize this feminine face? This study performs a close synchronic examination of the DM to demonstrate the extent to which it encodes an ambivalence on behalf of the Devī (Goddess) between violent wrath and compassionate care. Preserving paradox as only narrative can, the DM dispenses with neither face of the supreme Goddess—yet it posits her benign visage as ultimately supreme. This paper firstly examines the use of sound throughout the DM as expressive of the Devī’s sacrality and virulence alike. While violent sound is something the Devī deploys, sacred sound is something the Devī is. It then proceeds to analyze the second of the four hymns within the DM—the Śakrādi Stuti, occupying Chapter 4—to demonstrate the artful manner in which the hymn encodes the Devi’s ambivalence through its sophisticated design. This paper ultimately suggests that this ambivalence of the Devī finds an earthly analogue in the Indian king.
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Kolesnyk, Oleksandr, and A. Huryna. "“Evil Mastermind” in the framework of a verbally modeled reality." Studia Philologica 1-2, no. 18-19 (2022): 18–37. http://dx.doi.org/10.28925/2311-2425.2022.1892.
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This article considers language means verbalizing the EVIL MASTERMIND in the framework of an alternative pop-cultural world. The paper regards an alternative reality as a logical construal, the result of categorizing and modeling activities. The said modeling unfolds according to the patterns of open systems’ development and follows the logic of irrational rationalization that involves mythic space and its content as primary categorization filters. The latter is treated as the premises of myth-oriented semiosis. The article employs the multidisciplinary methodology of M-logic. The article addresses Loki as a prototype EVIL MASTERMIND which is identified as a temporarily tolerated system or a subsystem manifesting extraordinary capacities at different levels of organization and functioning, grudgingly tolerated by other systems due to its etiology essentially contrary to their own, responsible for both their benefits and eventual demise. The paper provides reconstructions of respective semantic features encoded in the verbal construals in Old Norse Eddic texts. Further interpretations of these semantic features result into their arrangement into a systemic cluster thus providing a look at the inner structure of the conceptualized notion of EVIL MASTERMIND in the archaic Germanic tradition. Loki’s speech behavior is analyzed in terms of speech act semantics. Special attention is paid to the variant of EVIL MASTERMIND created in the alternative reality of a TV series “Loki”. The article highlights peculiarities of the alternative EVIL MASTERMIND’S speech activities and focuses on their strategy-tactics arrangements. The paper provides comparative analysis of the two EVIL MASTERMINDS in regard to the patterns of “agonist” VS “antagonist” interactions, employed speech acts, strategies and tactics as well as synthetic interpretations of mythic concepts’ transformations in a modeled alternative pop-cultural world.
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Seamen, Gary. "The Divine Authorship of Pei-yu chi [Journey to the North]." Journal of Asian Studies 45, no. 3 (May 1986): 483–97. http://dx.doi.org/10.2307/2056527.
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Pei-yu chi [Journey to the North] is a late Ming novel, which since Ch'ing dynasty times has usually been published together with three other short novels, namely Nanyu chi [Journey to the South], Tung-yu chi [Journey to the East], and Hsi-yu chi [Journey to the West], as a composite edition entitled Ssu-yu chi [The Four Journeys]. Authorship of Pei-yu chi is usually attributed to a certain Yü Hsiang-tou, but the work is popularly regarded as the mythic charter of divinity of the Emperor of the Dark Heavens (Hsüan-t'ien Shang-ti), apotheosis of the north. Arguments based on analogy with present-day religious practices on Taiwan, as well as the content and structure of Pei-yu chi, are used to support a theory that the text was originally composed as a religious tract (shan-shu) by Chinese spirit-medium cults.
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Smalley, William, and Nina Wimuttikosol. "Another Hmong Messianic Script and Its Texts." Written Language and Literacy 1, no. 1 (January 1, 1998): 103–28. http://dx.doi.org/10.1075/wll.1.1.05sma.
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Among several writing systems devised by native speakers of Hmong, the Sayaboury script is of interest because it is the only one in which a body of apparently original mythic religio-political text material has been recorded. It also has an unusually ingenious, elegant, and economical set of vowel symbols, and a convention of doubling all initial consonant symbols in formal writing. Of secondary interest is the fact that this system was produced (and revealed to one of the authors) west of the Mekong River — not in the more focal Hmong areas which funneled refugees through Ban Vinai, Thailand, into the United States. The authors present here their limited joint knowledge about these texts and the system with which they are written, describing how they became known, their messianic nature, the structure of the writing system, its possible origins, and the fit between the writing and the Hmong language.
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Ringle, William M. "THE ART OF WAR: IMAGERY OF THE UPPER TEMPLE OF THE JAGUARS, CHICHEN ITZA." Ancient Mesoamerica 20, no. 1 (2009): 15–44. http://dx.doi.org/10.1017/s0956536109000030.
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AbstractThis paper reexamines the art and architecture of the Upper Temple of the Jaguars, Chichen Itza, in light of new unpublished digital images of Adela Breton's copies of the murals. Following discussion of the construction date of the building and previous interpretations of the murals, examination of costume, setting, and house form suggests that rather than depicting mythic or symbolic episodes, these murals illustrate actual military encounters between Chichen and its enemies. The occasion for their production seems to be the utilization of the Upper Temple of the Jaguars by a specific sector of Chichen Itza's military, perhaps for rites of investiture. This sector is argued to have been associated with the Cloud Serpent, either as the title of its leader or as a patron deity, and the structure itself is perhaps related to later Nahua buildings associated with penitential rites involving warfare and investiture.
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Fargher, Lane F., Richard E. Blanton, and Verenice Y. Heredia Espinoza. "Egalitarian Ideology and Political Power in Prehispanic Central Mexico: The Case of Tlaxcallan." Latin American Antiquity 21, no. 3 (September 2010): 227–51. http://dx.doi.org/10.7183/1045-6635.21.3.227.
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During the central Mexican late Postclassic period, the Aztec Triple Alliance became the largest and most powerful empire in Mesoamerica. Yet ancient Tlaxcallan (now Tlaxcala, Mexico) resisted incorporation into the empire despite being entirely surrounded by it and despite numerous Aztec military campaigns aimed at the defeat of the Tlaxcaltecas. How did it happen that a relatively small (1,400 km²) polity was able to resist a more powerful foe while its neighbors succumbed? We propose a resolution to this historical enigma that, we suggest, has implications for the broader study of social and cultural change, particularly in relation to theories of state formation and collective action. We find it particularly interesting that the Tlaxcaltecas abandoned a key tenet of traditional Nahua political structure in which kingship was vested in members of the nobility, substituting for it government by a council whose members could be recruited from the ranks of commoners. To achieve such a significant deviation from typical Nahua authority structure, the Tlaxcaltecas drew selectively from those aspects of Nahua mythic history and religion that were consistent with a comparatively egalitarian and collective political regime.
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Génin, Jean-Marie R., Rabha Aïssa, Antoine Géhin, Mustapha Abdelmoula, Omar Benali, Vibeke Ernstsen, Georges Ona-Nguema, Chandan Upadhyay, and Christian Ruby. "Fougerite and FeII–III hydroxycarbonate green rust; ordering, deprotonation and/or cation substitution; structure of hydrotalcite-like compounds and mythic ferrosic hydroxide." Solid State Sciences 7, no. 5 (May 2005): 545–72. http://dx.doi.org/10.1016/j.solidstatesciences.2005.02.001.
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Perelshtein, Roman. "Eldar Ryazanov’s Film Watch Out For the Automobile Through the Prism of Joseph Campbell’s “Hero-Adventure”." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 169–81. http://dx.doi.org/10.36340/2071-6818-2019-15-3-169-181.
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We propose a universal methodology for analyzing scripted films based on the “hero’s journey” structure defined by Joseph Campbell. This methodology helps in identifying new meanings in a dramatic work, regardless of the genre of the film. Eldar Ryazanov’s tragicomedy Watch Out For the Automobile (also known as Uncommon Thief in the United States) is a classic example of Campbell’s monomyph. According to Campbell, the hero’s journey consists of three acts: “departure,” “initiation,” and “return.” Each act consists of six stages, if we amend the “departure” act to include the “ordinary world” stage, described by Christopher Vogler in The Writer’s Journey: Mythic Structure For Writers. There exists a correspondence between the stages of the hero’s journey and the compositional structure of drama, which has been pointed out by a number of researchers (mainly American authors like Syd Field, Linda Seger, Christopher Vogler, etc.) We, however, will attempt to prove that comedy films can also be analyzed from the standpoint of Campbell’s “hero-adventure”. Eldar Ryazanov’s film Watch Out For the Automobile (1966) is centered around the character of Yuri Detochkin. The climax of every episode of the film is focused on Detochkin, just as the climax of every stage of the hero’s journey is associated with the hero of the myth. However, this is not the primary similarity. The character of Detochkin, portrayed by Innokenty Smoktunovsky, having passed through a series of trials, acquires integrity and becomes transformed. As in a monomyth, we are dealing with the character arc of a hero who has completed his journey, and has thus fulfilled his mission. In the spirit of “hero-adventure”, Campbell’s allegories help interpret a variety of dramatic situations. This is because, in essence, all of these situations are archetypes. It is very important, however, to define their placement in the structure of the story. Most often this happens spontaneously, by way of the artist’s intuition, but the structure proposed by Campbell helps approach the creative process more deliberately. The goal of this research was to demonstrate the congeniality of the two methods: the intuitive method used by the authors of the film Watch Out For the Automobile, and the rational method used by the author of the book The Hero with a Thousand Faces based on a vast collection of legends and myths. Our hypothesis was entirely confirmed: Eldar Ryazanov and Emil Braginsky were using the same artistic logic for guidance as their predecessor Joseph Campbell.
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WANG, Miaomiao, and Chengqi LIU. "A Study on the Postmodern Narrative Features in Toni Morrison’s Song of Solomon." English Language and Literature Studies 11, no. 3 (July 15, 2021): 28. http://dx.doi.org/10.5539/ells.v11n3p28.
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Toni Morrison (1931-2019) is renowned as the Nobel and Pulitzer Prize-winning American novelist. Her third novel Song of Solomon was written in the context of postmodernism, which embodies a variety of postmodern narrative features. Postmodern works are frequently inclined to ambiguity, anarchism, collage, discontinuity, fragmentation, indeterminacy, metafiction, montage, parody, and pluralism. Such postmodern narrative features as parody, metafiction and indeterminacy have been manifested in Song of Solomon. In this novel, Toni Morrison employs the strategy of parody in order to subvert traditional narrative modes and overthrow the western biblical narrative as well as African mythic structure. Meta-narratives are also used in the text to dissolve the authority of the omniscient and omnipotent narrator. By questioning and criticizing the traditional narrative conventions, Morrison creates a fictional world with durative indeterminacy and unanswered problems. Through presenting parody, metafiction and indeterminacy, this paper attempts to analyze the postmodern narrative features in Song of Solomon and further explore Morrison’s writing on the African-American community and its future development.
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Castaing, Anne. "“Gender Trouble” in the New Hindi Novel." Archiv orientální 81, no. 1 (May 12, 2013): 67–88. http://dx.doi.org/10.47979/aror.j.81.1.67-88.
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Some recent studies aim at highlighting the way post-independence Indian literature can reveal the ambiguities linked to the representation of the “self,” whose “Indianness” rested on both indigenous and exogenous sources, in a continuous dialogue with Western form of discourses (Marxism, psychoanalysis, and existentialism, for example). The gender issue remained nevertheless relatively excluded from these debates. It is undeniable that the development of Western feminist discourses and Gender Studies since the 1960s, from Simone de Beauvoir to Judith Butler, significantly modified the representation of woman and womanhood. Indeed, in the field of social science, many studies aim at deconstructing the mythic model of the docile and silent “Oriental” woman, represented by the figure of Sītā, and at underlining, even stimulating her empowerment, thus radically opposing the passivity of Indian traditional women with a militant feminism nurtured by the ideal of gender equality and even gender indetermination.
Nevertheless, cultural forms, performances or productions can reveal porosities between these two opposed representations. By exploring two recent Hindi novels (K. B. Vaid’s Līlā, 1990, and Mridula Garg’s Kaṭ hgulāb, 1996), whose polyphonic structure allows the empowerment of women within the narrative space, this paper aims at underlining the way literary feminism can also rest on a composite and complex representation of womanhood which constantly re-negotiates its models and can also be nourished by traditional sources. The gender question and the fluidity of this notion are not only echoed, but also find their roots in an indigenous mythical ethos, whose paradigms cannot be reduced to an essential manhood and womanhood. This paper thus interrogates the cultural specificities of this “gender trouble” in the Indian context, showing that feminism in this particular background can lay on a re-interpretation of traditions rather than on a radical break with them.
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Üstün, Ayfer Şeyma. "Mazhar Bey’in Farkındalık Yolculuğu." Journal of Social Research and Behavioral Sciences 7, no. 13 (July 10, 2021): 27–44. http://dx.doi.org/10.52096/jsrbs.6.1.7.13.2.
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It is known that content based on mythological structure can appeal to the common sense of taste of the reader and the audience. Joseph Campbell explains this situation through the Hero's Journey paradigm; explains the mythic fiction through the stages of departure, initiation and return. He explains that the narratives we read, watch or encounter are always “the same” story, within the framework of the concept of journey he proposes. This journey can be the physical transformation of the hero, as well as an initiation metaphor, which usually has psychological foundations. The movie Yol Ayrımı, written and directed by Yavuz Turgul, is a movie where we can see the initiation of the hero Campbell mentioned. In this study, the movie Yol Ayrımı will be read through the Hero's Journey paradigm, and the aspects that fit and depart from the cycle will be evaluated through the transformation of the leading role Mazhar Bey (Şener Şen) in the movie. In the research, which will be carried out using the qualitative analysis technique, the content analysis of the relevant movie will be carried out by using the content analysis method.
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Okuyade, Ogaga. "Traversing Geography, Attaining Cognition." Matatu 49, no. 2 (December 20, 2017): 358–85. http://dx.doi.org/10.1163/18757421-04902007.
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Abstract Although a number of studies of the African bildungsroman exist, they hardly explore the utility of journeying in the development of the protagonist. Some of these studies continue to reiterate the existence of the postcolonial African bildungsroman and its structure or how postcolonial writers have subverted this genre to narrativize the African experience of growth. However, the crucial role of travel in the African bildungsroman remains to be discussed comprehensively. It is my intention, therefore, to address this oversight and begin to fill the gap. My central contention is that travel is an essential catalyst in the process of personal growth. Chimamada Ngozi Adichie’s Purple Hibiscus will function as my primary text for analysis, but I also make reference to other narratives as ancillary texts in order to accentuate the functionality of journey, its metaphoric implications, and its structural application to Purple Hibiscus as a postcolonial African bildungsroman. In order to understand how mobility facilitates the construction of consciousness in Purple Hibiscus, I situate Kambili’s personal growth around a kind of mobility which resides within the usual-everyday kind of journey, which is by no means mythic, to articulate a template that foregrounds Kambili’s struggle for individuation—familial confinement, separation-cum-isolation, initiation, and return.
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Hidjaz, Taufan. "ARSITEKTUR MESJID SEBAGAI ADAPTASI DAN ORIENTASI RUANG DALAM BUDAYA SASAK, STUDI KASUS DESA KOPANG, LOMBOK TENGAH." Jurnal Arsitektur ZONASI 1, no. 1 (June 30, 2018): 1. http://dx.doi.org/10.17509/jaz.v1i1.11737.
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Abstract: Lombok referred to as “The Island of Thousand Mosques”, but more than that, there are around 9000 mosques in 518 Lombok villages with became the center of residential orientation. The traditional residential pattern of Kopang Village in central Lombok, as other Sasak residence in general, formed by values that bind its poeple in a culturalspace with a social system of kinship which then forms a distinctive environmental pattern. Sasak cultural space structure was formed as it is based on a worldview which became a way of life. The way of life of Sasak people in Kopang village is a concrete form of cultural values which makes mosque architecture as the center of the residential orientation pattern. Each of the cluster pattern is a residence formed by a relationship of structured activities from the people with the mosque. Before becoming identical with Islam, the old Sasak community which called Sasak Lebung used natural objects such as mountains, springs, and large trees as a marker and center of mythic-dynamism cultural and space orientation. After becoming Islam, Sasak people adapt the concept of space and make the mosque as the center of mythic-religious cultural and space orientation. This research using qualitative analytical descriptive method with environmental culture-based approach by considering the artifacts of the mosque with te residential environment in relation to the Sasak cosmology. Mosque architecture becomes very dominant role to represent culture and its symbolic meaning in cultural space of Sasak. Keywords : mosque, adaptive, orientation, Sasak culture, Kopang village. Abstrak : Lombok disebut sebagai “Pulau seribu mesjid” padahal lebih dari itu, dari 518 desa terdapat didalamnya 9000 an mesjid yang menjadi pusat orientasi hunian. Pola hunian tradisional desa Kopang di Lombok Tengah sebagaimana umumnya hunian Sasak terbentuk oleh tata nilai yang mengikat masyarakatnya dalam suatu ruang budaya dengan sistem sosial kekerabatan yang kemudian membentuk pola lingkungan khas. Terbentuknya struktur ruang budaya Sasak karena dilandasi oleh cara pandang terhadap dunia yang menjadi semacam jalan kehidupan. Cara hidup masyarakat Sasak di desa Kopang adalah bentuk kongkrit nilai-nilai budayanya yang menjadikan Arsitektur Mesjid pusat orientasi hunian sehingga membentuk pola hunian kantong yang khas. Tiap pola kantong tersebut merupakan hunian yang terbentuk oleh hubungan kegiatan terstruktur masyarakatnya dengan mesjid. Sebelum menjadi identik dengan Islam, masyarakat Sasak lama disebut Sasak Lebung menggunakan objek alam seperti gunung, mata air dan pohon besar sebagai penanda dan pusat orientasi ruang budaya yang mitis-dinamisme. Setelah menjadi Islam masyarakat Sasak melakukan adaptasi konsep ruang dan menjadikan mesjid sebagai pusat orientasi ruang budaya yang mitis-religius. Penelitian ini secara umum menggunakan metode deskriptif-analitis-kualitatif berbasis pendekatan budaya lingkungan dengan mempertimbangkan artefak mesjid menjadi fokus penelitian sebagai fenomena budaya. Hasil penelitian ini menguraikan keterkaitan mesjid dengan lingkungan ruang hunian dalam kaitannya dengan kosmologi Sasak. Arsitektur mesjid menjadi sangat dominan berperan merepresentasikan budaya dan makna simboliknya di dalam ruang budaya masyarakat Sasak. Kata kunci : mesjid, adaptasi, orientasi,budaya Sasak,desa Kopang.