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Journal articles on the topic 'Mythology, Classical'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

PHILLIPS, C. ROBERT. "MISCONCEPTUALIZING CLASSICAL MYTHOLOGY." Bulletin of the Institute of Classical Studies 37, Supplement_58 (January 1, 1991): 143–51. http://dx.doi.org/10.1111/j.2041-5370.1991.tb02209.x.

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2

Segal, Robert A., and William Hansen. "Handbook of Classical Mythology." Journal of American Folklore 121, no. 481 (July 1, 2008): 366. http://dx.doi.org/10.2307/20487617.

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3

Frauenfelder, David. "Popular Culture and Classical Mythology." Classical World 98, no. 2 (2005): 210. http://dx.doi.org/10.2307/4352933.

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4

Bär, Silvio. "The Nature and Characteristics of the Gods in Classical Mythology." Symbolae Philologorum Posnaniensium Graecae et Latinae 30 (December 15, 2020): 7–46. http://dx.doi.org/10.14746/sppgl.2020.xxx.1.

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This article is intended for students and teachers of classical mythology. It gives an overview of the nature and the characteristics of the gods in Greek and Roman mythology, explaining what the Greek and Roman gods are and what they are not. Furthermore, the relationship between gods and humans in classical mythology is discussed.

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5

Retief, F. P., and J. F. G. Cilliers. "Eunuchs in classical mythology and society." Suid-Afrikaanse Tydskrif vir Natuurwetenskap en Tegnologie 21, no. 4 (September 28, 2002): 121–28. http://dx.doi.org/10.4102/satnt.v21i4.237.

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The term eunuch is defined as referring to a castrated person (usually a male) and differentiated from the so-called “congenital eunuch” where hypogonadism is due to gonadal dysfunction from birth. The origins of human castration in creational mythology and castration for religious reasons as part of myths regarding goddesses of earth and fertility are reviewed. Ancient cults involving castrated priests serving goddesses like Cybele, Hecate, Atargatis-Dea, Astarte, Artemis and Innana-Ishtar are described and their later influence on Greece and Rome detailed. Human castration for non-religious socio-economic considerations arose in the Middle East during the 2nd millennium BC and probably reached Greece in the 5th century BC and Rome two centuries later. The role and influence of eunuchs in Classical times are reviewed.

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6

Biers, William R., and Robert E. Bell. "Place Names in Classical Mythology: Greece." Classical World 83, no. 4 (1990): 365. http://dx.doi.org/10.2307/4350647.

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7

Maxfield, Jennifer, Jennifer Connor, and Kevin Doll. "Increasing Personal Agency Through Classical Mythology." Journal of Feminist Family Therapy 21, no. 3 (August 17, 2009): 216–23. http://dx.doi.org/10.1080/08952830903079086.

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8

Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.v29.6658.

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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.

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Villalba-Lázaro, Marta. "Guy Butler's Demea." Grove - Working Papers on English Studies 29 (December 23, 2022): 131–49. http://dx.doi.org/10.17561/grove.29.6658.

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While the relation between classical mythology and postcolonialism may appear as an inconsistency, many postcolonial writers identify postcolonial issues in the literary reception of the classics, and look back to classical mythology and their own precolonial myths to gain a better understanding of their present. In the intersection of myth criticism and postcolonialism, this article discusses Guy Butler’s Demea, a postcolonial drama written in the 1960s but, due to political reasons, not published or performed until 1990. Butler’s play blends the classical myth of Medea with South African precolonial mythology, to raise awareness of the apartheid political situation, along with gender and racial issues.

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10

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

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

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11

Robert A. Segal. "Handbook of Classical Mythology (review)." Journal of American Folklore 121, no. 481 (2008): 366–67. http://dx.doi.org/10.1353/jaf.0.0026.

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12

Preti, A., and P. Miotto. "Suicide in classical mythology: cues for prevention." Acta Psychiatrica Scandinavica 111, no. 5 (May 2005): 384–91. http://dx.doi.org/10.1111/j.1600-0447.2004.00488.x.

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13

Sham, Michael. "Dictionary of Classical Mythology by Jenny March." Classical World 108, no. 4 (2015): 576–77. http://dx.doi.org/10.1353/clw.2015.0061.

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14

Fowler, Robert L., and Wolfgang G. Haase. "Classical mythology and Nineteenth-Century English Literature." International Journal of the Classical Tradition 5, no. 3 (March 1999): 335. http://dx.doi.org/10.1007/bf02687691.

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15

Hall, Edith. "Classical mythology in the Victorian popular theatre." International Journal of the Classical Tradition 5, no. 3 (March 1999): 336–66. http://dx.doi.org/10.1007/bf02687692.

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16

Leighton, Alexander. "RE-DISCOVERING MYTHOLOGY: ADAPTATION AND APPROPRIATION IN THE PERCY JACKSON AND THE OLYMPIANS SAGA." Mousaion: South African Journal of Information Studies 32, no. 2 (October 3, 2016): 60–73. http://dx.doi.org/10.25159/0027-2639/1690.

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Buchbinder (2011:128) writes that adaptations are often regarded as barely a step away from plagiarism; however, he notes that â€˜much of the literary output of classical Greek culture, for instance, consisted of reworkings of already familiar narrativesâ€™. His point is not only true of the classical Greek output, but of a contemporary adolescent fantasy saga, Riordanâ€™s Percy Jackson and the Olympians (2006â€“2011), which retells many of the classical Greek mythological narratives in a contemporary setting. Given that many adolescent audiences may be unfamiliar with the root narratives, the Percy Jackson and the Olympians saga serves the function of re-introducing an audience to classical mythology, thereby helping them to rediscover their value. This article argues that by skilfully adapting and appropriating the monomythic hero-journeys of Greek mythology, and by retelling them within a contemporary narrative, Riordan is creating a space where readers, possibly unfamiliar with the root classical narratives, can re-discover classical mythology.

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17

선정규. "Comparative Research on Chinese Classical Mythology and Greek Mythology - The Sinilarities and Uniqueness -." JOURNAL OF CHINESE STUDIES ll, no. 40 (May 2013): 213–46. http://dx.doi.org/10.26585/chlab.2013..40.009.

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18

Atashkadeh, Ruslana, Maryna Honcharenko, and Yuliia Sierova. "THE ESSENCE AND PECULIARITIES OF THE SOCIA MYTHOLOGY`S STRUCTURAL ELEMENTS IN THE MODERN SOCIETY." Politology bulletin, no. 86 (2021): 59–71. http://dx.doi.org/10.17721/2415-881x.2021.86.59-71.

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The article attempts to consider social myth-making as an integral mechanism of modern society. The essence and specifics of structural elements of social mythology are analyzed, its role in the construction of social reality is outlined. A comparative analysis of classical and social mythology. Based on this, we were able to identify the essential characteristics of social myth and show that social myth is, on the one hand, an effective mechanism for emotional consolidation of society, and on the other hand, an effective means of influencing human consciousness. It is emphasized that modern social mythology is narrowly specialized and focused on the specific relationship between the individual and society. It is proved that in modern society not only the view of the problem of social mythology changes, but also the very nature of social mythology. Mythology is becoming more artificial, man-made. It increasingly serves the needs of the authorities and elites, is deliberately produced, and therefore acquires a target audience and specific purpose, and is less and less reminiscent of classical mythology. However, the danger is not in itself social mythology, or even the manipulative design of its creators, and the inability of public and individual consciousness to resist its influence. Only by increasing the reflectivity, maturity of consciousness, the individual can resist the influence of social mythology and help to overcome its negative consequences.

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19

Miller, James D., and Debbie Felton. "Using Greek Mythology to Teach Game Theory." American Economist 46, no. 2 (October 2002): 69–79. http://dx.doi.org/10.1177/056943450204600207.

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This paper presents eight stories from classical Greek mythology which illustrate economic theories of truth inducement and separating equilibria. Since many students already have some familiarity with Greek mythology, these stories make ideal classroom examples.

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20

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

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21

Nugent, S. Georgia, and Martha A. Malamud. "A Poetics of Transformation: Prudentius and Classical Mythology." Classical World 84, no. 4 (1991): 325. http://dx.doi.org/10.2307/4350837.

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22

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

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23

Van den Kerchove, Anna. "Helen Morales, Classical Mythology. A Very Short Introduction." Archives de sciences sociales des religions, no. 142 (June 1, 2008): 191–321. http://dx.doi.org/10.4000/assr.15773.

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24

Lepelley, Claude. "THE USE OF SECULARISED LATIN PAGAN CULTURE BY CHRISTIANS." Late Antique Archaeology 6, no. 1 (2010): 475–92. http://dx.doi.org/10.1163/22134522-90000142.

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The attitudes of educated Christians to the pagan literary culture of Late Antiquity have long attracted scholarly debate. Jerome and Augustine express the unease that many Christian men of letters felt, and Christian apologists repeatedly attacked the absurdity and immorality of pagan mythology. Yet both Jerome and Augustine nevertheless believed that classical culture could contribute to the Christian life, and mythology remained a source of inspiration for certain Christian authors. This is demonstrated vividly by the writings of two important late antique figures, Sidonius Apollinaris in 5th c. Gaul and the 6th c. African poet Corippus. In their works we can trace an evolving acceptance of classical mythology as a cultural rather than religious inheritance, moving towards the later Christian Humanism of the Renaissance.

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25

Králová, Magda. "Classical or Old Norse myth? German and Danish approaches to the use of myth in the modern literature at the turn of the 19th century." Acta Antiqua Academiae Scientiarum Hungaricae 61, no. 1 (May 17, 2022): 75–86. http://dx.doi.org/10.1556/068.2021.00008.

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Abstract In the study, I provide a comparative overview of the aesthetical debate that took place at the turn of the 18th and 19th century in Germany and Denmark concerning the use of the Old Norse versus the classical mythology in literature. I discuss Johann Gottfried Herder’s ideas on this topic, expressed in his work Vom neuern Gebrauch der Mythologie (1767) and especially in his dialogue Iduna oder der Apfel der Verjüngung (1796), with focus on the following question: Does the rejuvenating potential of the Norse myth as suggested by Herder in Iduna, allow any room for the classical inspirations in modern literature? Herder’s view will provide a starting point of the comparison for the cultural situation in Denmark where the University of Copenhagen announced in 1800 a prize question on aesthetics “Would it benefit Northern polite literature if ancient Northern mythology were introduced and generally accepted by our poets in place of its Greek counterpart?”. The entries in this contest represented the view of the younger generation, namely Adam Oehlenschläger, Jens Møller and Ludvig Stoud Platou. I summarize their views and examine Herder’s influence on the debate.

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26

Parker, Lois J., and Robert Eisner. "The Road to Daulis: Psychoanalysis, Psychology, and Classical Mythology." Classical World 82, no. 3 (1989): 215. http://dx.doi.org/10.2307/4350373.

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27

Mench, Fred, and Jane Davidson Reid. "The Oxford Guide to Classical Mythology in the Arts." Classical World 89, no. 3 (1996): 235. http://dx.doi.org/10.2307/4351802.

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28

Wasserstein, David. "Classical mythology in an eleventh-century Hispano-Muslim geographer." Peritia 5 (January 1986): 404–8. http://dx.doi.org/10.1484/j.peri.3.145.

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29

Peyré, Yves. "Deciphering Classical Mythology in Renaissance Drama: Questions of Methodology." Cahiers Élisabéthains: A Journal of English Renaissance Studies 51, no. 1 (April 1997): 15–27. http://dx.doi.org/10.1177/018476789705100106.

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30

Lee, Nick, and Graham Hooley. "The evolution of “classical mythology” within marketing measure development." European Journal of Marketing 39, no. 3/4 (March 2005): 365–85. http://dx.doi.org/10.1108/03090560510581827.

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31

Catty, Jocelyn. "Suicide in classical mythology: not just a case-series?" Acta Psychiatrica Scandinavica 112, no. 5 (November 2005): 402. http://dx.doi.org/10.1111/j.1600-0447.2005.00635.x.

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32

PACKWOOD, DAVID. "THE MIRROR OF THE GODS: CLASSICAL MYTHOLOGY IN THE RENAISSANCE." Art Book 13, no. 1 (February 2006): 51–53. http://dx.doi.org/10.1111/j.1467-8357.2006.00648.x.

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33

de Beus, Emma. "Marvel Presents a Global Utopia and Confronts Nationalism: Eternals as a New Mythology Forged from Western Roots." Humanities 11, no. 3 (May 14, 2022): 60. http://dx.doi.org/10.3390/h11030060.

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Marvel’s 2021 film Eternals presents a new mythology for a new century, for an audience grappling with the complexity of postcolonialism and concerned about resurging white nationalism. Its mythology, while rooted in Western narratives, presents a utopia in the form of a multicultural pantheon, presented by a carefully selected, diverse class. While Marvel undoubtedly has commercial concerns, its careful construction of this new mythology and the considered adaptation process show a moral vision for the future. Importantly, this vision presents a direct contrast to the resurgence of the appropriation of classical mythology as justification for white supremacy. Marvel’s Eternals therefore can be seen as utopian: it offers the perfection of moral predictability, of good triumphing over evil. However, it simultaneously undercuts its story by couching it in the genre of a comic book superhero fantasy adventure–the reality Eternals offers, even fictionally, is beyond ordinary, mortal humans.

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34

Reid, Katie. "Richard Linche: The Fountain of Elizabethan Fiction." Studies in Philology 120, no. 3 (June 2023): 527–56. http://dx.doi.org/10.1353/sip.2023.a903805.

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Abstract: This essay represents the first scholarly assessment of the complete works of the Elizabethan poet and translator Richard Linche (fl. 1596–1601). Linche was interested in classical mythology, sonnet writing, and prose translation. He was also concerned with the burning literary questions of the 1590s and early seventeenth century. This article analyzes Linche’s sonnet sequence Diella (1596) and his love poem The Love of Dom Diego and Gynevra (1596), highlighting Linche’s use of ancient mythology as an ideal vehicle for exploring personal passion in contemporary poetry. It then turns to Linche’s English translation of the Italian mythographer Vincenzo Cartari, The Fountaine of Ancient Fiction (1599) , to illustrate how Linche deals with mythology as an inspiration for literature. Linche identifies myth as an appealing source for contemporary writing while displaying discomfort with some of its sexual content. Finally, this article discusses Linche’s An Historical Treatise of the Travels of Noah into Europe (1601), placing the work in the larger picture of his literary career and suggesting that it was a euhemeristic response to his earlier explorations of myth. In contrast to Linche’s earlier works, The Travels offers a de-personalized and desexualized approach to myth. By providing the first detailed critical assessment of Richard Linche’s oeuvre, this essay reveals an Elizabethan writer who was interested in what inspires fiction, particularly in the complicated moral issues surrounding the sensuality of classical mythology and the role of eroticism in contemporary poetry.

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35

Geerts, Sylvie. "Continuity and Change in the Treatment of Frightening Subject Matter: Contemporary Retellings of Classical Mythology for Children in the Low Countries." International Research in Children's Literature 7, no. 1 (July 2014): 18–36. http://dx.doi.org/10.3366/ircl.2014.0111.

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Ever since its origins, children's literature has dealt with frightening subject matter. The forms of such frightening fiction for children are, however, continuously changing. Retellings of classical mythology are a case in point as myths contain subjects that might be considered a threat to the romantic notion of the innocent child. As such, a focus upon the way authors deal with sex, death and violence in retellings of classical mythology reveals how the paradoxical impulses that govern the act of retelling – that is, a desire for preserving and challenging cultural tradition – alter under the influence of society's changing ideas about children and their literature. This paper concentrates on the rich and vivid tradition of retelling classical myths in the Low Countries. Shifts in the choice of pretext and in the age of the intended audience reveal a change of attitude towards frightening subjects in classical myths during the last decades. A closer look at retellings of the creation myths, dealing with sexual and lethal violence between parents and children, and the subject of death in the myth of Orpheus shows how the retellings of frightening myths range from unequivocal presentations as cautionary tales to demanding narratives generating unfixed meanings.

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36

Harris, Paul A. "Tracing the Cretan Labyrinth: Mythology, Archaeology, Topology, Phenomenology." Kronoscope 14, no. 2 (August 26, 2014): 133–49. http://dx.doi.org/10.1163/15685241-12341301.

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This essay discusses the Cretan labyrinth in relation to J.T. Fraser’s concept of eotemporality. The Cretan labyrinth is treated in diverse contexts, including its depiction in mythology and the archaeological attempts to locate it. The topology of the ‘Cretan’ or ‘classical’ labyrinth is analyzed, and a phenomenological account of the temporal experience facilitated by walking the labyrinth is provided.

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37

Stavitskiy, Andrey Vladimirovich. "Epistemology of nonclassical mythology: preliminary results." Социодинамика, no. 12 (December 2021): 32–41. http://dx.doi.org/10.25136/2409-7144.2021.12.36401.

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This article is dedicated to the problem of establishment of nonclassical mythology in the conditions of the modern epistemological crisis of myth, which is associated with stagnation in ideas and research against the background of the variety of works dedicate to folklore, anthropology, and philology. The goal of this article lies in the analysis of the factors and theoretical foundations of the formation of nonclassical mythology, as well as its practical importance for science and society. Research methodology leans on the principles and approaches of no-classical rationality that reveal the possibilities and limits of the scientific study of myth, as well as allow determining its role and meaning for science and society within the common cultural space. The scientific novelty lies in substantiation of the existence of nonclassical mythology as developed and described by the researchers. Analysis of the most interesting ideas of myth researchers indicates that nonclassical mythology was formed in the XX century, and is currently at the stage of formation of the general theory of myth. However, its further development is related to need for overcoming inertia in such spheres that view mythology in its particular manifestations, neglecting the ontology. Research of the ontology of myth will be determinative for mythology as a science, as well as allow formulating the fundamentals and problematic of the general theory of myth.

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38

Brown-Grant, Rosalind, and Renate Blumenfeld-Kosinski. "Reading Myth: Classical Mythology and Its Interpretation in Medieval French Literature." Modern Language Review 95, no. 4 (October 2000): 1082. http://dx.doi.org/10.2307/3736650.

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39

Moravcsik, Julius M., and Jane Davidson Reid. "The Oxford Guide to Classical Mythology in the Arts, 1300-1990s." Journal of Aesthetics and Art Criticism 54, no. 3 (1996): 300. http://dx.doi.org/10.2307/431636.

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40

Kaufmann, Thomas DaCosta, Jane Davidson Reid, and Chris Rohmann. "The Oxford Guide to Classical Mythology in the Arts, 1300-1990s." Dance Research Journal 26, no. 1 (1994): 27. http://dx.doi.org/10.2307/1477709.

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41

Olson, S. Douglas. "Classical Mythology, Day 1: The Pilgrims, George Washington and Santa Claus." Classical World 84, no. 4 (1991): 295. http://dx.doi.org/10.2307/4350811.

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42

Wellington, Jean Susorney. "ATHENA: CLASSICAL MYTHOLOGY ON CD-ROM. G. K. Hall & Co." Art Documentation: Journal of the Art Libraries Society of North America 14, no. 2 (July 1995): 49–50. http://dx.doi.org/10.1086/adx.14.2.27948737.

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43

Akgün, Buket. "Mythology moe-ified: classical witches, warriors, and monsters in Japanese manga." Journal of Graphic Novels and Comics 11, no. 3 (January 17, 2019): 271–84. http://dx.doi.org/10.1080/21504857.2019.1566155.

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44

Szmigiero, Katarzyna. "Reflexivity and New Metanarratives. Contemporary English-language Retellings of Classical Mythology." Discourses on Culture 20, no. 1 (December 1, 2023): 85–108. http://dx.doi.org/10.2478/doc-2023-0012.

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Abstract The turn of the millennium has brought a revival of interest in the ancient Greek and Roman texts. Obviously, the legacy of antiquity is a permanent feature of Western literature and visual arts; yet, its contemporary manifestation has taken a novel form, that of a retelling. It is a new trend in which a well-known text belonging to the canon is given an unorthodox interpretation, which exposes the ethnic, class, and gender prejudices present in the original. Mythological retellings are often written in an accessible manner containing features of genre fiction, which makes the revised version palatable to ordinary readers. A characteristic feature of mythic fantasy is the shift of focus from heroic exploits to private life as well as putting previously marginal characters into limelight. The retellings are a consequence of new, reflexive research angles that have appeared in the field of the classics.

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45

Seijas, Elena Miramontes. "A textile workshop to approach Classical civilisation." Journal of Classics Teaching 22, no. 43 (2021): 55–59. http://dx.doi.org/10.1017/s2058631021000088.

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Every day teachers try to improve their students’ awareness of how life was in Classical times. We talk about mythology, politics, the building of cities and many other aspects that made the ancient world, but what do we actually know and teach about clothing in ancient times? Our society seems to pay a lot of attention to the physical aspect of the ancient world. We know that clothing and adornment are important ways in which people were defined as a part of a social group, yet our students seem to believe that our ancestors just had a poor selection of national garments to make their identity clear.

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46

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

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

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47

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

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

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Earthman, Elise Ann. "The Siren Song That Keeps Us Coming Back: Multicultural Resources for Teaching Classical Mythology." English Journal 86, no. 6 (October 1, 1997): 76–81. http://dx.doi.org/10.58680/ej19973435.

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Notes the presence of references to classical mythology throughout modern culture, and offers an annotated list of 43 works of contemporary fiction, poetry, and drama that use mythological sources and that can help close the gap between today’s students and the gods and goddesses, heroes and monsters of long ago.

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

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

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Łuszczyński, Artur. "Comparative Mythology Perspective in Legal History Science." Annales Universitatis Mariae Curie-Skłodowska, sectio G (Ius) 71, no. 1 (May 10, 2024): 17–26. http://dx.doi.org/10.17951/g.2024.71.1.17-26.

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The notion of myth is used in legal science very rarely. When it appears, it usually happens in simplified, popular science publications. Basic, “classical” traces of such kind constitute rather linguistic ornaments than scientific explanations. However, in legal science we relatively often deal with statements or phenomena that do not have simple physical or material equivalents. This opens up a mythological perspective, an introduction to the world of duty, obligation, promise. The paper aims at presenting and defining myth in a way that allows one to use it in legal history without diverting its traditional meaning established in religious studies and social anthropology. The author believes that the myth is an inseparable part of the definition of law, certain views of natural law and notions of justice and human rights.

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