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Türe, Hatice, Uğur Türe, F. Ylmaz Göğüş, Anton Valavanis, and M. Gazi Yaşargil. "The Art of Alleviating Pain in Greek Mythology." Neurosurgery 56, no. 1 (January 2005): 178–86. http://dx.doi.org/10.1227/01.neu.0000146209.19341.3b.
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Türe, Hatice, and Uğur Türe. "The Art of Alleviating Pain in Greek Mythology." Neurosurgery 58, no. 3 (March 2006): E590. http://dx.doi.org/10.1227/01.neu.0000207973.21811.20.
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Machinis, Theofilos G., and Kostas N. Fountas. "The Art of Alleviating Pain in Greek Mythology." Neurosurgery 58, no. 3 (March 2006): E590. http://dx.doi.org/10.1227/01.neu.0000207974.15973.ef.
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Ntaidou, T. K., and I. I. Siempos. "The Art of Providing Anaesthesia in Greek Mythology." Anaesthesia and Intensive Care 40, no. 1_suppl (July 2012): 22–27. http://dx.doi.org/10.1177/0310057x120400s105.
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Siempos, Ilias I., Theodora K. Ntaidou, and George Samonis. "The Art of Providing Resuscitation in Greek Mythology." Survey of Anesthesiology 59, no. 3 (June 2015): 161. http://dx.doi.org/10.1097/01.sa.0000464146.74928.9c.
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Siempos, Ilias I., Theodora K. Ntaidou, and George Samonis. "The Art of Providing Resuscitation in Greek Mythology." Anesthesia & Analgesia 119, no. 6 (December 2014): 1336–41. http://dx.doi.org/10.1213/ane.0000000000000416.
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Türe, H., U. Türe, F. Y. Gögüs, A. Valavanis, and M. G. Yasargil. "987 THE ART OF ALLEVIATING PAIN IN GREEK MYTHOLOGY." European Journal of Pain 10, S1 (September 2006): S255b—S255. http://dx.doi.org/10.1016/s1090-3801(06)60990-7.
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Katzive, Bonnie. "Looking, Writing, Creating." Voices from the Middle 4, no. 3 (September 1, 1997): 1–5. http://dx.doi.org/10.58680/vm19973754.
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Describes how a middle school language arts teacher makes analyzing and creating visual art a partner to reading and writing in her classroom. Describes a project on art and Vietnam which shows how background information can add to and influence interpretation. Describes a unit on Greek mythology and Greek vases which leads to a related visual assignment.
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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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Navarrete, Miquel Àngel, and Josep Maria Sala-Valldaura. "La tela de Penelope: Entre la Grècia clàssica i la poesia catalana actual." Zeitschrift für Katalanistik 1 (July 1, 1988): 93–105. http://dx.doi.org/10.46586/zfk.1988.93-105.
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This essay examines the explicit references to Greek literature in Catalan poetry since 1980. For the first time, it examines how the Catalan poets include the mythology, philosophy and art of classical Hellas today – after the formative "noucentist" tradition of Carles Riba and Salvador Espriu – in their works. The diverse reception of Greek motifs is illustrated using selected examples. The subject areas are limited to a few central myths – primarily to the figure of the cunning Ulysses.
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Sushynskyi, Oleksandr. "Austro-Greece: Parafiction and Myth-Making Mechanisms of Hyperstition." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 118–27. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235231.
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The paper analizes the phenomenon of “Austro-Greek Empire” — a collective art-research project that includes ethno-cultural, social-political, and artistic frames. The fictional dimension of this “work-in-progress” project becomes its substantial part due to the topical issue of the post-truth phenomenon and conspiracy theories that are prevailing the media space. The importance of fictionalization methods in post-conceptual art is analyzed and demonstrated, given the possibility of constructing a metaposition in a situation of historical and political uncertainty. The “Austro-Greek Empire” is an emblematic project for the contemporary Ukrainian art process, as it aggregates a series of key issues, one of which is still the problem of identity. The article uses various methodological approaches, in particular, the optics of “parafiction” by C. Lambert-Beatty, psychoanalysis of J. Lacan, post-structuralist analysis of the mythology by R. Barthes and fictionalization of P. Osborne.
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Akanova, Aikerim, Lyazzat Yespekova, Kuanyshbek Kenzhalin, Amangul Adilbek, and Amina Magzumbekova. "Mythical cognition and social consciousness (based on mythological characters)." Scientific Herald of Uzhhorod University Series Physics, no. 55 (November 24, 2023): 2674–81. http://dx.doi.org/10.54919/physics/55.2024.267vt4.
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Relevance. The set of views that are closely related to art and culture, which develops and develops in close connection with the life of the nations of the world over the centuries is called a worldview.Purpose. The root of such concepts as national cognition, national identity, general worldview is intertwined with mythology.Methodology. The article also proves the origin, foundation, continuity and irony of the mythology found in Turkic and foreign mythology, as well as analyzes the similarities and differences between the core of the Turkic worldview, mythical knowledge of the peoples in the world.Results. Because myth is an integral part of popular knowledge, translated from the Greek, �Myphos� means a legend, a story. The article considers the mythical vocabulary in the context of the mythological knowledge of the Turkic peoples, based on Kazakh folk prose.Conclusions. The conclusions of foreign and domestic scientists on general mythology and scientific opinions in the context of the inseparable link between myth and society were confirmed.The basis of general mythology the views of scientists in the field of mythical vocabulary, which are found in science are summarized in one channel. The roots of Turkic mythology in the world mythology are revealed and a comparative analysis is made.
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James, David. "The Transition from Art to Religion in Hegel's Theory of Absolute Spirit." Dialogue 46, no. 2 (2007): 265–86. http://dx.doi.org/10.1017/s0012217300001748.
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ABSTRACTI relate the aesthetic mediation of reason and the identity of religion and mythology found in the Earliest System-Programme of German Idealism to Hegel's account of the transition from the ancient Greek religion of art to the revealed religion (Christianity) in his theory of absolute spirit. While this transition turns on the idea that the revealed religion mediates reason more adequately in virtue of its form (i.e., representational thought), I argue that Hegel's account of the limitations of religious representational thought, when taken in conjunction with some of his ideas concerning Romantic art, suggests that he fails to demonstrate the necessity of the transition in question, thus undermining the triadic structure (i.e., art, religion, philosophy) of his theory of absolute spirit.
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Kiourt, Chairi, and Stella Markantonatou. "Intertwining Culture With Education Through Gamified Storytelling." International Journal of Computational Methods in Heritage Science 2, no. 1 (January 2018): 8–22. http://dx.doi.org/10.4018/ijcmhs.2018010102.
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Coupling culture and education has attracted significant attention and pushed towards the replacement of the typical STEM model into STEAM. An effective integration of culture in the everyday educational practice, empowered by game-based storytelling has already shown great potential in transforming the way people are exposed to and grasp knowledge. This paper presents an attempt to put culture, education, gaming and storytelling together. Myth Trek was a game developed using state-of-the-art gaming technology, and integrated elements going back in time all the way to the ancient Greek mythology, embedding a time-distorted history onto the present day's landscape in the center of the city of Athens, with an aim to save Athens from complete annihilation. In a playful action/adventure gaming setting, the game mixes mythology, history, architecture and the environment to expose players to the long history of Athens.
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Constantakopoulou, Christy. "Landscape and Hunting. The Economy of the Eschatia." Land 7, no. 3 (July 26, 2018): 89. http://dx.doi.org/10.3390/land7030089.
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This paper explores the place of ancient Greek hunting within the Greek landscape and environment, with particular reference to the eschatia, the marginal, uncultivated (or marginally cultivated) land. It is part of a bigger project on the social history of hunting in archaic and classical Greece, where emphasis is placed on the economic and dietary contribution of hunting for Greek communities. Hunting has attracted scholarly attention, mostly as a result of the role that hunting narratives play in Greek mythology, and the importance of hunting scenes in Greek art. Rather than talking about the role of hunting in rites of passage, I would like to explore the relationships of different social classes to hunting (which is understood here to include all forms of capturing animals on land, including trapping and snaring). The ‘un-central’ landscape of the eschatia appears to be an important locus for hunting practices, and therefore, a productive landscape. Hunting in the eschatia was opportunistic, required minimum effort in terms of crossing distances, allowed access to game that could be profitable in the market, and made the transport of game easier to manage.
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Rodríguez Pérez, Joana. "El espejo deformante. Heracles en el cine del siglo XXI." Latente Revista de Historia y Estética audiovisual, no. 19 (2021): 88–122. http://dx.doi.org/10.25145/j.latente.2021.19.05.
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This article examines how 21st-century cinema has embraced one of the most important figures in classical mythology, the Greek hero Herakles. How cinematic art has captured and adapted the events that classical sources tell of the myth of the son of Zeus. And beyond his story, how it has assumed, varied or decontextualized the personality, values and attitude of a being that was undeniably of his time. In this way, by comparing the written story with the filmed story, we examine which episodes of the hero’s life have been brought to the big screen and which of them have not, and try to explain why. This comparison will also help us to determine the interrelations between the production of the films and the literary work on which they are based.
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Schneider, Birgit. "Klangteppiche. Transmediale Verhältnisse zwischen Weberei und Musik." Zeitschrift für Medien- und Kulturforschung 6, no. 1 (2015): 133–58. http://dx.doi.org/10.28937/1000106436.
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Ausgehend von der griechischen Mythologie werden die vielfältigen Beziehungen zwischen Singen und Weben, dem Flechttanz und den strukturellen Ähnlichkeiten von Notationsformen und Steuerungsprinzipien in Musik und Weberei ausgelotet. Es zeigt sich, dass das Verhältnis der Zeitkunst Musik und der Raumkunst Weberei weit über das hinausweist, was sich im bloß metaphorischen Sprechen von >Klanggeweben< abzeichnet. Die Beziehung zwischen Kunstformen und Medien bringt vielmehr mythischspirituelle Ebenen zum Ausdruck. Die Umwandlung von Geweben in Musik respektive Musik in Weberei wiederum macht das kreative Potential der Transposition fruchtbar. </br></br>Based on Greek mythology, the multiple relationships between singing and weaving, »Flechttanz« (»weaving dance«) and the structural similarities of forms of notation and principles of control in music and weaving are explored. It is found that the relationship between music (as a temporal art) and weaving (as a spatial art) goes far beyond that which the metaphor of »sound tissues« points at. Rather, the relationship between art forms and media expresses mythical and spiritual levels. The transformation of tissues in music or, respectively, music in tissues, makes the creative potential of transposition productive.
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C. A. Thomopoulos, Stelios, Panagiotis Tsimpiridis, Eleni-Ino Theodorou, Christos Maroglou, Efstathios Georgiou, and Christiana Christopoulou. "COSMOS: An Innovative, Graph-based Application for the Relational Presentation and Visualization of Greek Mythology and the Associated Art." American Journal of Computer Science and Technology 5, no. 1 (2022): 16. http://dx.doi.org/10.11648/j.ajcst.20220501.12.
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Haine, Malou. "L’éducation par l’art selon Liszt." Studia Musicologica 55, no. 1-2 (June 2014): 3–16. http://dx.doi.org/10.1556/6.2014.55.1.1-2.
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Liszt followed the education of his own children through letters, but he rarely saw them while they were young. The education that Marie Sayn-Wittgenstein received in Weimar, when her mother settled there with Liszt, was completely different. The young princess was only ten years old and she read many classic and modern writers; she even translated some of them. Greek mythology had a privileged place in her education. She attended several concerts. Private teachers gave her lessons in drawing, history, and art history. She travelled with her mother to Berlin and Paris in order to visit artists’ ateliers, art galleries, and museums. Liszt gave them names and addresses of personalities to visit. Special orders of portraits sometimes followed these visits. The young princess served as a model for some of these painters. Princess Carloyne Sayn-Wittgenstein possessed a personal collection of drawings and paintings, and the young girl was encouraged to do the same. This can be seen in the letters that Liszt wrote to the young princess before her marriage.
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Beaumont, Lesley. "Mythological childhood: a male preserve? An interpretation of classical Athenian iconography in its socio-historical context." Annual of the British School at Athens 90 (November 1995): 339–61. http://dx.doi.org/10.1017/s0068245400016245.
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The birth and childhood of the Greek male gods and heroes are themes well documented in classical Athenian art and myth. By contrast, contemporary Athenian iconography and mythology are remarkably empty of references to the birth and infancy of the female heroes and female gods, or alternatively present the newborn goddesses as adult women. This article seeks to shed light on the apparently missing childhood phase of the goddesses and heroines, by examining the evidence of fifth-century Athenian iconography in its socio-historical context. Consequently, in the case of the goddesses, it is proposed that the female child figure represented a state of being incompatible with the nature and manifestation of divinity. It is further suggested that the mythological heroines enter classical Athenian art and myth only once they have attained puberty, because it is at this point that their potential for relations with the male gains significance. And just as was the case with their mortal female counterparts, it is this capacity for interaction with the male sex that makes them of interest to society.
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Κατσιγιάννη, Άννα. "ΑΝΝΑ ΚΑΤΣΙΓΙΑΝΝΗ, Ευτοπία (;) και προσωπική μυθολογία: Διακαλλιτεχνική μείξη και ανακατασκευή της παράδοσης στο Ες -Ες -Ες -Ερ Ρωσσία του Ανδρέα Εμπειρίκου." Σύγκριση 31 (December 28, 2022): 74–88. http://dx.doi.org/10.12681/comparison.31276.
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Eutopia (?) and Personal Mythology: Interartistic relations and Reconstruction of intellectual tradition in USSR Russia of Andreas Embeirikos The present paper focuses mainly on the extensive narrative poem USSR Russia (in Greek: Ες -Ες -Ες -Ερ Ρωσσία) by Andreas Embeiricos. It seeks to illuminate how different art forms are brought together in weaving the poem's narrative, language combining with visual imagery and Tsaikofsky’s music to «orchestrate» the poetic text. Another purpose of this paper is to trace the reconstruction of the intellectual tradition in this long programmatic poem. It highlights the intertextual connections between this poem and other related works by Embeiricos, such as «Amour-Amour», «I never forget Leo Tolstoy, my very first teacher», «The sight of Bogiati as a landscape in motion» (in Greek: «Αμούρ-Αμούρ», «Δεν λησμονώ ποτέ τον Λέοντα Τολστόϊ τον πρώτο δάσκαλό μου», «Το θέαμα του Μπογιατιού ως κινούμενου τοπίου») and other such poems in which Russia is rendered into myth. Hidden intertexts by political Palamas’ poetry The Wolves (in Greek: Οι Λύκοι), the poet's diary entries and interviews are examined in parallel, contributing to our understanding of his choice of intellectual forebears, pre-eminent among them being Leo Tolstoy at the head of the «resplendent triumvirate of Tolstoy, Freud, Breton», with the Russian novelist also included in the «saints of non-compliance», as a «heat-generating sun and cosmos, father of gods and men» in the poem «The Beati or The Saints of non-compliance», from the collection Octana (in Greek: «Οι Μπεάτοι ή της μη συμμορφώσεως οι άγιοι»).
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Tkaczyk, Krzysztof. "„ICH FORDRE SO VIEL FREIHEIT UND MUSSE, ALS NÖTIG IST, ÜBER MICH SELBST, ÜBER MEINE BESTIMMUNG UND MEINEN WERTH ALS MENSCH ZU DENKEN“.1 ZUR KUNST- UND FREIHEITSKONZEPTION BEI KARL PHILIPP MORITZ." Literatūra 50, no. 5 (December 28, 2016): 85. http://dx.doi.org/10.15388/litera.2008.5.10231.
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In 1786 in Rome, Johann Wolfgang Goethe wrote about him: “He is my younger brother; we art cut from the same mould. However, fate was against him, whereas I was fortune’s favourite.” He meant Karl Phillip Moritz (1756-1793), a German writer and art critic, Greek mythology historian, precursor of modern psychology and the author of psychological novel. If we assume that Goethe’s comments concern Moritz’s material and social status only, we would have to admit that Goethe was right. However, if we apply these judgments to the quality of his (Moritz’s) works, we would be inclined to saying that in this case the great Goethe was wrong. In his aesthetic, Moritz is far more interesting and progressive than his “elder brother”; in his literary criticism – more consistent than Schiller, and in perceiving society and politics – more radical than Kant. This article is mainly on key concept regarding Moritz’s aesthetic works: the concept of beauty and its functionalism. Definition of “the work of art” as a closed, specified unity enables Moritz to get out of the frame of aesthetics itself and to enter the sphere of politics. Moritz liberates man from the restraints of utility and treats him as a noble individual who possesses the artistic value in himself.
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Śmiechowicz, Olga. "Pure Propaganda or Great Art, Patriotism and Civic Engagement? How Aeschylus and Euripides Used Their Plots to Support Athenian Politics towards the Allies." Symbolae Philologorum Posnaniensium Graecae et Latinae 29, no. 2 (December 15, 2019): 5–16. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.1.
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In this article I would like to focus on one research topic: how ancient tragedians manipulated their drama plots (based on Greek mythology) so as to use them for influencing Athenian “international policies.” Those were not any mistakes or airs of nonchalance on the part of the Athenian tragedians; it was just their carefully premeditated strategy of creating persuasive messages to function as pure propaganda. I am chiefly directing my attention to the topic of how the Athenians established their relations with the allies. Meaning the closest neighbours as well as some of those who did not belong in the circle of the Hellenic civilization. I have decided to devote all of my attention to Aeschylus’ and Euripides’ works, as both of them were obvious supporters of the democratic faction. I focused my attention on the texts: Aeschylus: The Suppliants, Oresteia; Euripides: Heracleidae, Andromache, Archelaus,Temenos.
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Terzić, Marija. "MEASURE AND EXCESS: AHMED NURUDDIN – TRANSFORMING APOLLO INTO DIONYSUS." Филолог – часопис за језик књижевност и културу 14, no. 27 (June 30, 2023): 497–511. http://dx.doi.org/10.21618/fil2327497t.
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This paper deals with Apollo and Dyonisian elements in dervish Ahmed Nuruddin's characterisation. This paper analyses the dervish Ahmed Nuruddin in light of Nietzche's understanding of Apollo and Dionysus deities in terms of their divine roots originating from ancient Greek mythology without any intention whatsoever to present Nietzche's entire philosophical system on the relationships between Dionysus, Greek tragedy, and the connections between art and nature with these principles. The dichotomy will be analysed on the example of the Serbian novel, Death and the Dervish written by Meša Selimović. The paper tackles the characterisation of the literary hero, protagonist Ahmed Nuruddin as a bridge between dervish-Apollo to Nuruddin-avenger, which is Dionysus focusing on revenge resulting in human and moral destruction caused by hatred, the opposite of Ahmed Nuruddin˙s neutrality, while performing the dervish duty. The avenger Nuruddin, the one surfacing after the murder of his sibling, will be considered Dionysus in light of an injustice inflicted on him by Harun's murder, a flywheel for his revenge. Special emphasis will be placed on Nuruddin's human defeat – moral decadence in the form of his transfiguration from a priest to a Machiavellian character. Taking Nietzche's understanding of Hellenic tragedy into consideration, this paper aims to prove Ahmed Nuruddin turning Apollo into Dionysus.
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Liberman, Anatoly. "William Henry Fox Talbot (1800–1877) and the “Interim Period” in the history of English etymology." Grammarians, Skalds and Rune Carvers I 69, no. 1 (March 3, 2016): 95–112. http://dx.doi.org/10.1075/nowele.69.1.03lib.
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Henry Fox Talbot, the father of photography, was a polymath, and among his many publications we find works on mathematics, physics, astronomy, chemistry, archeology, ancient history, mythology, and Assyrian cuneiform inscriptions. He was also at home in botany. In 1847 he brought out a thick book titled English Etymologies. His archive at Cambridge allows one to trace the preparatory stages for this work. Talbot’s book is instructive as an example of how some talented, brilliantly educated, and industrious Englishmen in the forties of the nineteenth century went about discovering the origin of Hebrew, Greek, Latin, and English words. Talbot was aware of sound correspondences but did not feel bound by them. A list of his sources gives a good idea of the state of the art in England. Talbot’s etymologies are interesting only from this point of view. They should be studied as we study the efforts of much earlier researchers, that is, as part of the history of science.
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Persi, Ugo. "Античные мотивы в поэтическом мире Максимилиана Волошина. Aрхаизм или архаизирование ?" Modernités Russes 15, no. 1 (2015): 315–23. http://dx.doi.org/10.3406/modru.2015.1042.
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In Maksimilian Vološin’s poetry and criticism classical antiquity does not predominate over other themes, yet at the same time we can argue that Greek antiquity reverberates throughout his work. Vološin tackled the theme of archaism in an essay published in the first issue of Apollon. Pavel Muratov criticized it harshly, considering unacceptable its confusion of archaism and archaicization. Vološin was not actually archaicizing antiquity : he was refashioning it through the use of archetypes. It is thus necessary to study antiquity in Vološin not only in the light of classical philology and mythology, but also through the prism of archetypes, with a particular focus on the archetypes linked to stiffness, to the rigidity of stones. In Athens, for instance, Vološin reacted to the Acropolis with an astonishment that was not associated with the point of view of the philologist or the art scholar, but privileged instead the point of view of the stonecutter-phenomenologist.
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Porshnev, Valerij P. "Landscape gardening art of the Hellenistic states of Asia Minor." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 112–20. http://dx.doi.org/10.30725/2619-0303-2021-1-112-120.
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The article continues a cycle of publications of the author on Hellenustic landscape gardening art. The cultural region, which already in the most ancient times was a contact zone between the Greek world and the East is considered. The historical heritage of the Phrygian and Lydian kingdoms and the Persian Empire, which bequeathed to governors the Hellenistic era sacred groves, hunting reserves paradises and terrace parks with regular planning is traced. Special attention is devoted to parks of the Pontic kingdom of time of Mithridates VI Eupator’s government and parks of Pergamon. The country residence of Mithridates VI in Kabeira is interesting as a sample of the landscape park, the first in the history of the European landscape gardening art, at which there are motives characteristic for parks of time of Romanticism. Besides, parks in Kabeira and in Pergamon had unique collections poisonous and the herbs gathered by Mithridates VI and Attalus III. According to the author of article, these collections, besides utilitarian appointment, being raw materials for preparation of poisons and drugs, had aesthetic value, enriching park landscapes, and their natural qualities were intricately connected with mythology and religion of Greeks. Base of a research are the landscapes of the Black Sea coast of Turkey, the rich archaeological material saving up in one and a half centuries of excavations in Pergamon, and written sources, compositions of antique authors, among which are the works of poet and scientist 2nd century BC Nicander of Colophon not yet translated to Russian.
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Trubnikоva, Liudmyla. "AN EVOLUTION OF MIMIC LOOK AT FINE ART." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 161–69. http://dx.doi.org/10.33838/naoma.28.2019.161-169.
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This article explore and analyses conformity to natural laws of individual interpretations of human emotions on a masterpieces of European artists from Antic age to early Modernism, also in Ukrainian painting (for instance, creative works of Olexander Murashko), The following examples are setting peculairities of creative positions of every author which reflected unusual mimic grimaces of his heroues in pickturesque portraits (especially at works of Antonello da Messina, Ercole de Roberti, Leonardo da Vinci, Frans Hals, Rembrandt Hannenszoon van Rijn, Mihaly Munkacsy, Ilya Repin, Edward Munk, with him legendary “Scream”, which paradoxally and repeatedly reflected in horror movie-art about twenty years ago — in the trilogy by Wes Craven) and Old Greek sculptures (“Athena and Marsyas”, “Laokoon”). Also the author of this article analyzed different views of representatives of classical philosophy and aesthetics of Age of Renassainse (Karol van Mander, Giorgio Vasari), Baroque, Classicism (Charles Lebrun) and Age of Education (Denis Diderot as author of “Salones”, Johann Joachim Winckelman, Johann Caspar Lavater — in recollection of Nikolay Karamzin), also used classic and modem famous historicals of fine art (Egene Fromentin, Bernard Berenson, Georgiy Nedoshivin) and contemporary scientists, which a lot of researched this problems (Giovanni Chivardi, Fritz Lange) etc. Author used pointed mimetic observations of some Ukrainian (from “Portrait” by Nikolay Gogol to short-story by Yuriy Mulik-Lutsik and great novel by Natalka Snyadanko) and foreign writers (Denis Diderot as author of “Le Neveu de Rameau”, Dafna du Maurier, Nikolay Chukovskiy), memories of Ukrainian painters (Mikola Burachek). Some materials from the recent history of those states were introduced into scientific usage. Review of need for inclusion of approaches and methods related to the fields of art criticism studies (par example, psychology, history of movie-art, mythology, philosophy), and certain concepts. An attempt to understand the problem of mimetic expressiveness in fine art.
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Georgiadou, Zoe, Vaso Florou, and Ifigenia Ilia Georgiadou. "Contemporary condemnation of memory." Global Journal of Sociology: Current Issues 11, no. 1 (April 15, 2021): 20–27. http://dx.doi.org/10.18844/gjs.v11i1.5449.
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Mnemosyne in Greek mythology was the daughter of Gaea and Uranus, and mother of the nine Muses, whose father was Zeus. She was the personification of memory and was connected in this way to the Arts, as artists recalled primordial memories to draw inspiration for their creations. ‘Damnatio memoriae’, the Roman punishment meaning condemnation of memory, was an official sanction, successful in wiping out the memory of any individual who was convicted of being a tyrant, a traitor or another sort of enemy of the state. The images of such condemned persons had to be destroyed, their names erased from inscriptions and every element concerning their public presence was purged. In some cases, the residence of the condemned could be destroyed, and if the person was already dead, his grave was demolished and his last will nullified. Nowadays, the condemnation of memory could be connected to a series of incidents selected to be erased from the public conscience as if they have never happened, although they represent historical or even ordinary events – genocides, wars, migration flows, gender-based violence and others. This paper focuses on the contemporary condemnation of memory using Art as a methodological tool. We argue that art represents a way to investigate current circumstances that aim to wipe out collective memory. We probe these expressive forms that are derived from historically transformed roles and compile these facts that are consigned to oblivion. Keywords: Memory, oblivion condemnation of memory, art and memory, Florou, Ilia-Georgiadou.
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Bychkov, Victor. "To the aesthetics of early works of Friedrich Schlegel." Философия и культура, no. 11 (November 2020): 1–14. http://dx.doi.org/10.7256/2454-0757.2020.11.34306.
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The subject of this research is the aesthetics of early works of Friedrich Schlegel. In his aesthetics, Schlegel continues the traditions of German classical philosophy, placing emphasis on the principles of beautiful and sublime in art. Schlegel believes that both, beauty and morality are innate traits of a person, which besides ethical also has “aesthetic imperative”. Beauty, as a ”transcendental factor”, beauty is based on indifferent pleasure and represents the ideal that was reached by the ancient Greek art, while contemporary art does not tend towards it. The higher beauty is organic with nature; two key “elements” comprise the essence of beauty: “phenomenon” and “good”. In broad sense, beauty also embraces the sublime. Schlegel pays particular attention to disgraceful as an aesthetic category that contradicts beautiful and sublime, and draws a sketch of the future theory of disgraceful. He connects disgraceful with human animality, and shows that it is based on the disgusting, painful, agonizing, “indigent chaos” of existence, manifesting an absolute negation. The central aesthetic principles – beautiful and sublime are contradicted by two types of disgraceful: personal and exalted. One of the main components of culture as a humanistic factor, Schelling considers art and determines the three types of culture: natural, organically growing on the basis of mythology (it reached high level in Antiquity), artificial, created on the basis of reason according to aesthetic laws (new-European), and aesthetic that implies special emphasis in culture on aesthetic essence and artistry. Schlegel is persuaded of the fact that further positive development of culture and art is possible only under the control of a “proper” aesthetic theory, the beginning of which he sees in the works of his contemporaries.
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Burgess, Jonathan. "Achilles' Heel: The Death of Achilles in Ancient Myth." Classical Antiquity 14, no. 2 (October 1, 1995): 217–44. http://dx.doi.org/10.2307/25011021.
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This study examines the death of Achilles in ancient myth, focusing on the hero's imperfect invulnerability. It is concluded that this concept is of late origin, perhaps of the Hellenistic period. Early evidence about Achilles' infancy does not suggest that he was made invulnerable, and early evidence concerning his death apparently indicates that Achilles was wounded more than once. The story of Achilles' heel as we know it is therefore late, though it is demonstrable that certain themes and motifs of earlier traditions about Achilles were preserved in later traditions. What caused the concept of Achilles' imperfect invulnerability to emerge, it is proposed, was the late story in which the hero is ambushed in the temple of Thymbraean Apollo. Certainly Achilles was wounded in the lower leg in early Greek myth. An explanation is needed if this does not reflect the story of his imperfect invulnerability, and the arguments of several scholars are surveyed. The theory that the "swift-footed" hero was first immobilized by a lower wound before being slain is ultimately favored, though it is suggested that invulnerable armor and poison may have played a role. A comparative approach to myth and ritual is employed, with attention given to evidence from various areas (e.g., Scythia, the Near East) and ages (Proto-Indo-European to modern) in an effort to illuminate stories about the infancy and death of Achilles. The study also assesses two alleged reflections in the Iliad of Achilles' death, the death of Patroclus in Book 16 and the wounding of Diomedes in Book 11. The evidence in ancient art and literature about the death of Achilles is often obscure, but this exploration of continuity and innovation in myth about Achilles should assist our understanding of it.
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Akhmedov, Ilia. "Some Remarks on the Genesis of One of the Images of Early Medieval Art." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (February 2019): 25–46. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.2.
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The article focuses on the origin of the image of a dragon with a serpentine body known in the early medieval antiquities of Eastern European nomads. Researchers have long been discussing such images found on the sites of the Volga region and the Urals. According to the most recent hypothesis proposed by N.A. Lifanov, these dragon figures generally match the image of ancient κyτος which was adopted as a result of the acquaintance of the steppe inhabitants with works of late antique or early Byzantine art. The present study addresses a wide range of sources allowing us to construct an alternative version of the genesis of the dragon image. The group of images of fantastic creatures associated with early Buddhist art can be found in East Turkestan. They show immediate morphological and stylistic conformity with Eastern European images. They are also similar to the figures of Sogdian mural and plastic arts. East Turkestan’s images reproduce the well-known patterns of the Buddhist art of Gandhara. Gandhara figures originate from the images of κÞτεα and other widespread in Hellenistic art of Bactria sea monsters. KÞτεα which were companions of sea deities in classical mythology were seamlessly included in the decoration of headwear of Buddha sculptures, worship or relic veneration scenes. They are often found on the architectural details of stūpas. Some believe that κÞτεα evolved from the creation of sea into the creation of sea, air, and earth in the Indo-Greek tradition. They became mediators between worlds. Finally, they could exercise some sort of soteriological function. Apparently, Turkic peoples who were actively involved in all processes that took place in Central Asia and East Turkestan could comprehend these properties. So, the κÞτεα images could be reinterpreted and integrated into their imagery.
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Dunaeva, Ekaterina. "The History of One Personal Copy: Esper E. Ukhtomsky (1861–1821) — His life, His Buddhist Collection, and the Study of Buddhism in Russia." Oriental Courier, no. 4 (2022): 91. http://dx.doi.org/10.18254/s268684310023804-2.
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The article focuses on the contribution of Esper E. Ukhtomsky, an outstanding collector of Buddhist sculpture and painting in pre-revolutionary Russia, to the study of Buddhist art. In addition to the main episodes of the biography, little covered earlier in research, the author examines how Ukhtomsky, who had the largest private Buddhist collection in the Russian Empire, contributed to the study of Buddhist art and collaborated with Albert Grunwedel, to whom he provided part of his collection, resulting in the famous Grunwedel’s work “The Mythology of Buddhism in Tibet and Mongolia”. Ukhtomsky himself published pamphlets in which he contributed to the clarification and understanding of Buddhism and the East by the reading public. In 1890–1891 Ukhtomsky was one of the retinues that accompanied the future Emperor Nicholas II, his brother and the Greek Prince on a journey to the East. It was Ukhtomsky who had the honor to write a trip report — “Journey to the East of His Imperial Highness the Sovereign Heir Tsesarevich” in three volumes. The article shows how Ukhtomsky worked with Asian material on the example of the book by Archbishop Nilus “Buddhism, Considered in Relation to Its Followers Living in Siberia” (1858), where Ukhtomsky left numerous marginalia. In his marginal notes, the author translated Mongolian terms into Russian, quoted major authors of Buddhist studies, and left his own reflections on what Archbishop Nilus, who was engaged in missionary activity in Siberia, managed to learn and understand.
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Φερεντίνου, Βικτώρια. "ΒΙΚΤΩΡΙΑ ΦΕΡΕΝΤΙΝΟΥ, Τα συγκοινωνούντα δοχεία μιας υβριδικής ποιητικής: Ο μύθος ως διακαλλιτεχνική και διαπολιτισμική ώσμωση στο έργο του Νίκου Εγγονόπουλου." Σύγκριση 31 (December 28, 2022): 28–41. http://dx.doi.org/10.12681/comparison.31272.
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The Communicating Vessels of a Hybrid Poetics: Myth as Intermedial and Intercultural Osmosis in the Oeuvre of Nikos Engonopoulos In 1938, the year of the International Exhibition of Surrealism at the Gallery Beaux-Arts in Paris, the poet and painter Nikos Engonopoulos created Birth of Orpheus and Genesis of Myth. The depiction of the birth of young Orpheus as emblematic of the construction of myth recalls the mythopoetic process as articulated in the anthology of the poet, psychoanalyst and photographer Andreas Embeirikos, Writings or Personal Mythology (1936-1946): “Each myth’s becoming is a child who grows up.” This reception of myth should be situated in the context of the French surrealists’ endeavour to formulate a new collective mythology that would respond to the political and social environment of the interwar years. This collective mythology resorted to cultural topoi that were deemed countercultural, marginalised or anti-Enlightenment, ranging from primitive, prehistoric and Gothic art to magic, alchemy and mythological traditions of archaic or non-European cultures. In this framework, surrealist myth was reconfigured as a new poetic language in constant metamorphosis that could articulate through diverse media and cultural traditions the surrealist vision for the radical transformation of the world. In Greece the appropriations of classical myth were central to the modernist canon. However, the Greek surrealists transformed myth in subversive ways initiating a dialogue with the present in the light of anthropology, ethnography, history of religions and psychoanalysis. Recent research has shown that Embeirikos and Engonopoulos conversed with French Surrealism and their colleagues’ engagement with alternative epistemologies and comparative religion and mythology, participating to a fecund renegotiation of the past. This paper aims at contributing to the revision of the history of Surrealism in Greece by exploring the function of myth, both as intermedial language and discursive practice, in Engonopoulos’s work. Most specifically, it purports to investigate the poetic anthologies Do not Speak to the Driver (1938) and The Clavichords of Silence (1939) alongside visual works he created at the end of the 1930s, such as the drawing SO4H2 (1937), and the engraving Vierge inviolable, métaphysique et surréaliste-sonore (1930s). The subtitles given initially to the aforementioned anthologies allude to the comparison of the arts and the equation of poetry and painting in an alchemical fusion pursued by the historical avant-gardes and Surrealism. Engonopoulos’s work and his experimentations with image-making should be revisited within this context and seen as a paradigm of the formulation of a new myth that sought to interweave the visual arts, poetry and alternative epistemologies into a revolutionary, hybrid form of expression that could effect the individual and society.
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Buchanan, Sophie. "Representing Medea on Roman Sarcophagi: Contemplating a Paradox." Ramus 41, no. 1-2 (2012): 144–60. http://dx.doi.org/10.1017/s0048671x00000291.
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It is one thing to find Medea compelling, another to make her art, let alone funerary art. This article faces this complexity head on by examining Medea's visual identity within a sepulchral context. It interrogates her presence on Roman sarcophagi of the mid to late second century CE. The corpus is not insubstantial—nine intact relief panels plus further fragmentary pieces offer ample testament to Medea's presence in the funerary context. Beyond this sphere, Medea's emotionally charged legacy needs no introduction, and her characterisation—outsider, avenger, semi-divine sorceress, victim and murderer—is fleshed out by her capacity to fascinate and repel. Modern scholarship fans the flames, as she remains a popular subject for scholars of Latin and Greek literature, mythology and gender studies.In contrast, Medea's visual sphere of interest has attracted less in-depth attention. Recent studies have acknowledged the implications of her presence on pots and in freestanding sculpture, and most notably, wall painting is beginning to receive careful treatment. Yet art-historians have been more reluctant to confront Medea within the enclosed and predisposed funerary context. Traditional approaches to mythological sarcophagi more generally have favoured consolado as the dominant mode of commemoration, in which empathy and pothos are paramount and protagonists like Adonis and Endymion seen as positive exempla worthy of analogy and assimilation. The deceased is elevated by association with these figures (an association which is often underlined by the use of a portrait head) and the bereaved reassured by the implied interaction of mundane and heroic, mortal and divine. In this way, desire becomes a gloss for grief and loss is translated as yearning.
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Mshvildadze, Marika. "Diety Nike-Victoria of the late Antique period on the territory of Georgia." Pro Georgia 33, no. 1 (August 10, 2023): 161–68. http://dx.doi.org/10.61097/12301604/pg33/2023/161-168.
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The states on the territory of Georgia were part of the Classical antiquity ecumene. Accordingly, both Iberia and Colchis had close trade-economic and cultural relations with the Roman Empire, from where the deities popular in the empire spread to the territory of Georgia. Among them, a special place is occupied by the ancient god of victory, Nike (Ancient Greek: Νίκη). The name Nike is believed to date back to the pre- Greek period. In Greek mythology, Nike appears as a companion of Zeus and Athena. In Greek art, the deity is mainly depicted with symbols of victory – wings, a crown and a palm branch, but we also find a wingless Nike. In Roman reality, the Victoria (Latin: Victoria) corresponded to Nike. Research has shown that the deity Nike (Victoria) was one of the most widespread cults in late ancient Iberia, which is the result of political and cultural relations with the Greco-Roman world. In late antiquity, the cult of Nike (Victoria) was recorded on the territory of Georgia in the Kingdom of Kartli (Iberia) – on the territory of Greater Mtskheta, Urbnisi, Zhinvali... Since the Hellenistic period, religious syncretism was also reflected on the engraved gems found on the territory of Kartli. Athena-Tikhe-Fortuna- Demeter-Nike depicted in an oval-shaped cornelian intaglio in a fragment of an iron ring. Tomb №27 of Karniskhevi, 2nd-3rd centuries. Nike-Fortuna-Athena is depicted in an oval-shaped white, transparent glass intaglio in an iron seal. Urbnisi necropolis. Tomb №205. 1st-early 2nd century AD. Seals with the image of the deity Nike (Victoria) found in the territory of Georgia belonged to all layers of society. Gemas can be found both individually and in gold, silver and bronze rings. Intaglios with the image of the deity are made of: carnelian, glas, almadine, which are inserted into iron, bronze, silver and gold rings. It is noteworthy that the cult of Nike (Victoria) is mainly prevalent in urban centers. From the above, we can conclude that Nike (Victoria) was popular and in our opinion, mainly among the Romanized population.
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Kotaridi, Yuliya G. "Philosophical Versions of the Eternal Storyline About Cupid and Psyche: from Neoplatonism to Christianity." Проблемы исторической поэтики 27, no. 1 (February 2020): 36–55. http://dx.doi.org/10.15393/j9.art.2020.7302.
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<p>The subject of this paper is the transformation of the poetics of Cupid and Psyche plot in its national and historical modifications in European literature. The methodology of the analysis is based on mythological studies (A. N. Veselovsky, A. F. Losev) and genre studies (M. M. Bakhtin, S. S. Averintsev, E. M. Meletinsky, etc.). Allegorization of the images of Love and Soul appeared in the antiquity long before the novel by Apuleius “Asinus Aureus” or “Metamorphoses” (the 2<sup>nd</sup> century AD). In a Greek epigram Eros is often associated with the element of fire that puts the soul — “Psycho” — to a variety of ordeals and tortures. In “Metamorphoses” by Apuleius the tale about Cupid and Psyche can be seen as an allegorical narration about the soul traveling around the world and looking for ways to Love and eternal life. Later, the parabolic core of the ancient story was enriched with new motifs from the arsenal of mythology, Neoplatonism and Christianity. The archetypical basis and platonic paradigm of the plot in “Metamorphoses” by Apuleius go together in a syncretic unity, that provides universality and polysemy of the different versions of tales about Cupid and Psyche in European literature. The neoplatonic version of the story, which interprets the reunion between Cupid and Psyche as the Union of God and Soul, is represented in literature by writings of Fulgentius, Boccaccio, Heine, Coleridge, Żuławski and others.</p>
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Chumachenko, Olena. "Entertainment as a sociocultural phenomenon: historical and cultural analysis." Culturology Ideas, no. 19 (1'2021) (2020): 55–65. http://dx.doi.org/10.37627/2311-9489-19-2021-1.55-65.
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The article deals with the phenomenon of Entertainment in the historic and cultural dimensions. Entire image-concept of Entertainment in traditional, universalistic-modern, postmodern, transcultural discourses is determined. Entertainment is a specific existential concept, it is a fundamental principle of philosophical knowledge revealing a person's relations with oneself and other people. Since ancient times, the phenomenon of Entertainment has basically been one of the ways of human existence, an element through which a person understands his place in the world and his relationship with other people. The gods create entertainment in Greek mythology. The phenomenon of entertainment is a divine way to purify the soul; the phenomenon of entertainment is a way to honor the gods; the phenomenon of entertainment is a way of forming social and political thought with the help of theater, a social utopia, a way of mastering the knowledge necessary for a certain professional activity. In the Middle Ages, the Entertainment is a form of protest against the church's monopoly on culture and art. The article also considers the phenomenon of entertainment in the days of the Renaissance and the Enlightenment. In the context of the socio-cultural life of the 19th century, the phenomenon of Entertainment is considered in the concepts of J. Ruskin, J. Maritain, A. Bergson, F. Nietzsche.
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Morozov, Daniil A. "“Tales of the Titans” as a Realization of Yа.E. Golosovker’s Philosophical Project." Voprosy Filosofii, no. 5 (2023): 151–61. http://dx.doi.org/10.21146/0042-8744-2023-5-151-161.
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The article is devoted to the artistic work of Ya.E. Golosovker “Tales of the Titans”, first published in Detgiz in 1955, and considered as a realization of the thinker’s philosophical project. The author of the article pays special attention to the “scaffolding” – key philosophical attitudes of the imaginative absolute concept. It allows to understand why Golosovker refers to Greek mythology. Based on the text of the “Tales”, author suggests considering two strategies for developing imaginative logic: negative and positive. The negative one relates to the denial of formal logic and the struggle against ratio. Author shows how the violation of formal logic principles is implemented in Golosovker’s text. The positive strategy is addressed to the new cultural and philosophical method called “curve of meaning”. Possible problems associated with its use are identified, however author emphasizes its potential relevance for humanitarian research. The author of the article attempts to apply this philosophical method to the artistic work of the thinker, as a result a few “meaning-images” (Golosovker’s neologism) were identified: immortality, madness, power, etc. The text of “Tales” appears as an example of “philosophy-as-art” and as the realization of cognition by imagination. The conducted research opens prospects for further study of Golosovker’s philosophical heritage, which has not yet fully taken its place in the history of Russian thought.
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Le truong Anh, Ngoc. "Sự ảnh hưởng của thần thoại trong nghệ thuật kiến trúc Hy Lạp cổ đại (thế kỷ VIII-IV TCN)." Dong Thap University Journal of Science 9, no. 6 (December 15, 2020): 107–13. http://dx.doi.org/10.52714/dthu.9.6.2020.836.
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Vasiliu, Laura Otilia. "Ancient Greek Myths in Romanian Opera. Pascal Bentoiu’s Jertfirea Ifigeniei [The Sacrifice of Iphigenia]." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 108–23. http://dx.doi.org/10.2478/ajm-2019-0006.
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Abstract Romanian composers’ interest in Greek mythology begins with Enescu’s peerless masterpiece – lyrical tragedy Oedipe (1921-1931). The realist-postromantic artistic concept is materialised in the insoluble link between text and music, in the original synthesis of the most expressive compositional means recorded in the tradition of the genre and the openness towards acutely modern elements of musical language. The Romanian opera composed in the knowledge of George Enescu’s score, which premiered in Bucharest in 1958, reflect an additional interest in mythological subject-matter in the poetic form of the ancient tragedies signed by Euripides, Aeschylus and Sophocles. Significant Romanian musical works written in the avant-garde period of 1960 to 1980 – Doru Popovici’s opera Prometeu, Aurel Stroe’s Oedipus at Colonus, Oresteia I – Agamemnon, Oresteia II – The Choephori, Oresteia III – The Eumenides, Pascal Bentoiu’s The Sacrifice of Iphigenia – to which titles of the contemporary art of the stage are added – Cornel Ţăranu’s Oreste & Oedip – propose new philosophical and artistic interpretations of the original myths. At the same time, the mentioned works represent reference points of the multiple and radical transformation of the opera genre in Romanian culture. Emphasising the epic character, a heightened chamber dimension and the alternative extrapolation of the elements in the syncretic complex, developing new modes of performance, of sonic and video transmission – are features of the new style of opera associated to the powerful and simple subject-matter of ancient tragedy. In this sense, radio opera The Sacrifice of Iphigenia (1968) is a significant step in the metamorphosis of the genre, its novel artistic value being confirmed by an important international distinction offered to composer Pascal Bentoiu – Prix Italia of the Italian Radio and Television Broadcasting Company in Rome. The poetic quality of the text quoted from the masterpiece of ancient theatre, Euripides’ Iphigenia in Aulis, the hymnic-oratory character of the music, the economy and expressive capacity of the compositional means configured in the relationship between voice, organ, percussion, electro-acoustic means – can be associated in interpreting the universal major theme: the necessity of virgin sacrifice in the process of durable construction.
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Forsgren, La Donna L. "Transculturation, Reclamation, and Adaptation: Approaches to Teaching Father Comes Home from the Wars." Modern Drama 66, no. 2 (June 1, 2023): 179–202. http://dx.doi.org/10.3138/md-66-2-1183.
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Heralded as one of the most important voices in US theatre, the Pulitzer Prize-winning playwright Suzan-Lori Parks has made profound contributions to the creation of black art. Since her arrival on the theatre scene in the 1980s, Parks has challenged audiences to consider the importance of representation and unearth silences within history. Her more recent Pulitzer Prize finalist work, Father Comes Home from the Wars Parts 1, 2 & 3 (2014), continues this exploration, privileging the epic tale of an enslaved black man turned Confederate soldier in search of freedom. As an amalgamation of Parks’s personal family history; the broader narrative of the black freedom struggle; and canonical epic tales such as Homer’s Odyssey , Aeschylus’s Oresteia , James Joyce’s Ulysses , and Vyasa’s Mahabharata , Father Comes Home … presents pedagogical challenges for instructors who must engage with ancient and modern texts and contemporary black political thought and performance traditions. Rather than replicate austere teaching practices of the past, I use the pedagogical theories of bell hooks to issue a call to foster curiosity and radical transparency as instructors guide students to a better understanding of how Father Comes Home transculturates (or reclaims) Greek mythology and tragedy within the African diaspora. In so doing, I demonstrate how Father Comes Home serves as a reckoning of the generational trauma caused by chattel slavery, summoning us all to confront racist and sexist practices that systematically disenfranchise black Americans and prevent the wider dissemination of black history and culture.
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Bock, Bettina. "GERMAN STAMMBAUM ‘FAMILY TREE’ — A MULTIMODAL WORD HISTORY." German Philology at the St Petersburg State University 12 (2022): 454–73. http://dx.doi.org/10.21638/spbu33.2022.124.
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The paper deals with the concept of family tree and the German word Stammbaum. The concept is placed in the larger context of the plant-human metaphor. This metaphor is already found in the Ancient Near East in the Sumerian cosmogony. It is also known from the Bible. And it is deeply rooted in Indo-Europeania and can be traced through reconstructed Proto-Indo-European, Greek and Latin mythology, or Germanic and Slavic wood idols. The article compiles the frequently cited Latin texts passages on the topic and can add an early evidence for a “tree of kinship”. The oldest attestation dates back to the time around 650, but this is probably an isolated evidence, even though Isidore of Seville describes a stemma (the Roman genealogical table) with ramusculi ‘little branch’ in his Etymologiae. There is no need to conclude that this was a tree, even if the modern “tree of kinship” this suggests. Rather, art historical studies have shown that between the 9th and 12th centuries various forms of representation for the concept of family tree were tested, and that around 1200 the familiar family tree was estabablished as the form we know now as the only one. A first linguistic testimony is found in Albertus Magnus. Together with the early family trees of Carolingians and Guelphs, the thesis is developed, against the background of the deep anchoring of the plant-human metaphor in Germanic, that the family tree takes up these old ideas, too, and that the sound similarity of stemma and German Stamm supported to the word formation German Stammbaum.
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Cherkasov, Danila Sergeevich. "Synthesis of religious and mythological motifs in the visual arts of the Vienna Secession. Decadence as a blurring of intra-cultural boundaries." Культура и искусство, no. 4 (April 2024): 127–38. http://dx.doi.org/10.7256/2454-0625.2024.4.69933.
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The subject of the study is one of the features of the iconography of the artists of the Viennese Secession, namely the mixing in one work of elements belonging to different cultural traditions, and the use of the Nietzschean concept of decadence (primarily presented by the philosopher in his work "Casus Wagner") to understand the reasons for such a misplacement of boundaries. The author pays special attention to the combination of elements of Christian cult and ancient Greek and Roman mythology in one work (as in the cases of the "Beethoven Frieze" by G. Klimt or such works by M. Klinger as the sculpture of Beethoven for the 1902 Secession exhibition and the monumental canvas "Christ on Olympus"). Another aspect of the above-mentioned cultural mixing was the blurring of the boundary between the fantastic and the real, which is especially evident in such a work as "Self-Portrait with a Mermaid" by K. Moser. The main method of this work is the iconographic analysis of works of art in the collections of museums in Vienna. The conclusion of the article is that the artists of the Vienna Secession, who worked in the last years of the existence of the Austro-Hungarian Empire, which was disintegrating due to many factors, despite their desire to create a new artistic language capable of uniting the peoples of the collapsing country, reflected the destruction of the social order surrounding them in their works. Decadence, which F. Nietzsche associates with the disintegration of a single whole and the loss of hierarchical relationships in favor of individual individuals, released the creative energy of an entire generation of Austrian artists who created their works, ignoring the boundaries that existed before between secular and religious and, as a result, between Christian and pagan, real and imaginary. The novelty of this study lies in the use of special optics, the core of which is the phenomenon of decadence. Through this prism, it is possible to consider the legacy of the Vienna Secession not as a regional vesrion of European art nouveau or the forerunner of twentieth-century modernism, but as part of a different stream of cultural phenomena permeating the culture of Europe of the XIX-XX centuries, not bound by strict stylistic (art nouveau) or iconographic (symbolism) restrictions.
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ." World Science 3, no. 8(48) (August 31, 2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.
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Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his interest in European civilization and artistic attainment. On the other hand, he tends to synthesize arts. As you know, the phenomenon of synthesis of the arts also comes from antiquity. According to the Greek mythology, Parnassus is the home of gods and also the residence of the nine muses – the patronesses of arts and sciences.The first piece «Clio» (the muse of history) is aimed at improvisation. At the same time the author accompanies every miniature with remarks concerning instrumentation, manner, tempo, rhythm, provides detailed notes as to the sound dynamics, etc.The second piece «Euterpe» (the muse of lyrical poetry and music) is marked by the lack of lilt organization. Music theme has abundant rhythmics, abrupt texture and dynamic changes.The third and the fourth pieces «Thalia» (the muse of comedy) and «Melpomene» (the muse of tragedy) expose quite the opposite images and emotions of the Greek theatre genres. However, the composer applies means of humorous and tragic music spheres of different epochs.The fifth piece «Polyhymnia» (the muse of sacred poetry and pantomime) is based on the intonations of antique chants. Melody develops gradually, has narrow range, but in the middle of the piece reaches significant dramatic effect. The sixth miniature «Urania» (the muse of astronomy) is the illustration of a starry night. Quiet and peaceful sounding dominates, short motives are directed upwards.In the seventh piece «Terpsichore» (the muse of dance and choral singing), with the help of antiphonous sounding of imaginary male and female groups of singers, the author reproduces the model of an ancient syncretic roundelay. The eighth miniature «Erato» (the muse of love lyrics) resembles the second piece (Euterpe) in images’ character and exposition.The last piece «Calliope» (the muse of epos) reflects V. Manyk’s aspiration to generalize the contents of the entire cycle. That’s why short reminiscences of all previous pieces are quite prominent here.The cycle of short miniatures is enriched with the wide range of historic, cultural and even philosophical connotations. Programme plot embodies by means of expression such as improvisation of musical texture, s broad range articulation, characteristic contrast melodies and motifs, the uniqueness semantic structure work.
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Boiko, Olha. "CULTURAL ALLUSIONS IN TEXT CREATION OF UKRAINIAN AND RUSSIAN FANTASY." Odessa National University Herald. Series: Philology 26, no. 2(24) (July 22, 2022): 17–29. http://dx.doi.org/10.18524/2307-8332.2021.2(24).251833.
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The article is devoted to the analysis of allusion as an element of intertextuality, which plays an important role in the text - making of Russian and Ukrainian fantasy texts. Scientific investigations are analyzed, in which there are definitions of allusion as a stylistic figure and stylistic reception, hint and indirect reference. The origin of allusion as borrowing of a pretext, and also its semantic-compositional role in expression of constructive intertextuality (according to N. Fateeva) is characterized. It is determined that allusions, according to A. Tyutenko, work to increase the content. The own definition of the concept of allusion as a dual (verbal-non-verbal) means of actualizing the cultural and historical memory of the reader is proposed. The duality of allusion is that it can be intertextual or intermedia, with reference to the fine and audiovisual arts (including cinema, opera, ballet), music, and so on. The cognitive-suggestive function of allusion is important. In addition, the question of distinguishing between the concepts of "precedent phenomenon" and "allusion" arises. In our study, allusions may contain precedent phenomena - names, names, situations, etc .; but allusion is a broader concept because it is a hint, and a hint does not necessarily contain specific onyms. On the other hand, the precedent phenomenon is not always an allusion in the literal sense of the word, it can be a quotation or just a reference to a well-known fact, such as dictionary definitions. Allusion as an intertextual element appears on the verge of combining two contexts - the source, from which the author chooses the element he needs, and the new, newly created. Very often allusive vocations work as analogies, comparisons of the new and the well-known. However, the vast majority of allusions used in fantasy are built on the use of precedent phenomena - universal-precedent or national-precedent. Culturological (religious, mythological, fairy-tale) allusions were analyzed on the basis of a total of 570 fragments (17% of the total number of intertextual elements selected from the source base (3341.)). in the table, exceeds 570 due to the fact that certain varieties overlap: artionyms can be a variety of fairy tales and a variety of literary, intermedia, as well as anthroponyms, poetonyms, etc. We did not distinguish between attributed and non-attributed allusions, the reason is small the number of attributed allusions in fantasy works. Examples from the works of Volodymyr Arenev, Darya Korniy, Niki Kallen, Max Frei and other Ukrainian-speaking and Russian-speaking writers are given. We came to the conclusion that mythological references are convenient to divide by cultural source: Aztec, East (Tibet), Greek culture, Egypt, China, Scandinavian mythology and Slavic. It should be noted that references to Slavic mythology are the most common in Ukrainian fantasy, while in Russian they are almost non-existent. Religious allusions are more part of the recipient's permanent intertextual field, which allows for the creation of intertextual connections with the religious context (sacred texts, material artifacts), as well as to enrich the arsenal of magical elements in fantasy discourse. Folklore allusions are part of a group of ideological allusions - folklore vocations to folk art reflect the people's ideas about the world around them, so they contain mythonyms, theonyms, etc., and are closely related to magical discourse through the involvement of mythonyms, theonyms, names to denote chimerical creatures and other signs of the fantastic.
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Shapoval, Oksana. "Theory of communication in the space of philosophy and scientific thought as a determinant of the analysis of R. Wagner’s creative process." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 52–76. http://dx.doi.org/10.34064/khnum2-16.03.
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Background. The knowledge about R. Wagner has now acquired the status of a significant component of not only music, but also philosophy, cultural studies, literary studies, and in studies the authors address to the intonation-conceptual and philosophical foundations of the artistic concepts of the German composer. Such universality has a basis in the substantial depths of Wagner’ works, which are the embodiment of myth-making, the conceptual ideas of Gesamtkunstwerk and Kunstreligion. Objectives. The purpose of the research is to determine the scientific basis for the implementation of the theory of communication as determinants of the analysis of the creative process by R. Wagner through the prism of the heuristic quest of the genius composer and the inclusion of his achievements in the continuum of culture. Methods. In knowledge about R. Wagner methodological importance have the works of the famous scientist M. Cherkashyna-Gubarenko. The researcher examines the conceptual foundations of R. Wagner’s work: finds the influence of the German composer on the artistic formation of S. Prokofiev, reveals in the works by R. Wagner evangelical motifs, the Faustian model, which is a reflection of the archetypes, the problem of the embodiment of his works in the Opera house of today. Significant representative of knowledge about R. Wagner, the author of the doctoral thesis, the focus of which is the Opera the «Flying Dutchman» is E. Roschenko. Analyzing the embodiment of mythology in the musical art, scientist addressed to the conceptual foundations of the artistic practice of the great mythmaker R. Wagner. Great importance in the understanding of cognitive and communicative activity of Wagner plays familiarization with his euristic quest, which was carried out through the study of the music and book editions. Materials about the libraries of Wagner transferred to the archive of the Kharkiv Wagner society by M. Eger in the form of manuscript. The results of his research contribute to the expansion of ideas about Wagner’s universalism, which, in turn, allows us to hunting the principle of the composer – Gesamtkunstwerk – as not only a union of music, poetry and dance, but comprehensive intellectual and spiritual synthesis. Results. In science, there are many approaches to the study of communication. This publication highlights the scientific provisions that are methodologically important in the study of the process of communicative and creative process of the artist. The roots of the theory of communication reach antiquity. Therefore, first of all addressing to them, correlating philosophical reflections of ancient Greek thinkers with scientific and philosophical thought regarding the understanding of these processes in subsequent eras from the perspective of the chosen discourse of the proposed research. The dialectical method of Socrates, justified by Plato, involves the acquisition of true knowledge through reasoning in the form of questions and answers that can be carried out in conversation with the interlocutor or with yourself, in the process of knowledge or self-knowledge. R. Wagner was reflectional artist, a sage who came to know themselves in unity with the being of the world, the idea is constantly addressing the question of the meaning of human existence and finding it on various options of response. The metaplot of his works delineates reflections on the imperfection of mortal existence, eternal desire for freedom and immortality. R. Wagner’s reflections are related to philosophical reasons of thinkers, but they are expressed in terms of the artistic concept of the work, where the composer reveals his own philosophical beliefs, placing the characters in the realities of ontological reality. Therefore, we can conclude that the infinite knowledge and self-knowledge of the German master is expressed in the form of artistic and philosophical reflection. Wagner’s creative work gradually reveals its depths through its inclusion in the public consciousness, where it finds a lot of interpretative readings; carried out by directors and performers, music lovers and opera audience, reviewers and researchers. The texts of the works of the German genius are in the focus of the interpreters active attention in the conditions of the modern Director’s Opera house, where they appear as an initial source, prompting the search and actualization of deep meanings, which is facilitated by the artistic and conceptual content of these works. Creativity of R. Wagner is included in the communicative and creative process, which is carried out in a dialogue in the big time (concept by M. Bakhtin). In turn, the German genius acted in this process not only as a communicator, but also as a comunicant, as evidenced, in particular, by the reflection recorded on the pages of his publications (an appeal to humanity and at the same time an imaginary conversation with outstanding personalities of the past and present). Conclusions. Consideration of R. Wagner’s creative work and thought through the prism of artistic and philosophical reflection, allows us to interpret dialogue as an endless search for truth, which takes its multiplicity, despite the composer’s desire to find episteme knowledge. Texts by R. Wagner are the embodiment of the author’s picture of the world, which reflects the conceptual ideas of the composer, included in the dialogue in the big time. The tracking of the semantic content of a literary text often generates new meanings, since this process is subjective, which bears the imprint of the interpretation’s perception. In the creative work of R. Wagner, there is an operation with symbols that means by composer as a «significant game», during which there is a comprehension of archetypal information and the generation on its basis of new meanings that arise as a result of knowledge through myth. The author sees the prospect of further research in the present consideration of R. Wagner’s creative work from the standpoint of the theory of communication, covering the level of social existence of the composer and onto-communication in his operas – display of ontological processes of the Universe.
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Cetin, Taylan. "THE USE OF GREEK MYTHOLOGIES IN ART AND MYTHOLOGY COURSE." Idil Journal of Art and Language 8, no. 60 (August 31, 2019). http://dx.doi.org/10.7816/idil-08-60-11.
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"ANCIENT GREEK SCULPTURE IN THE 20TH CENTURY WESTERN ART." Ulakbilge Dergisi 9, no. 62 (July 30, 2021). http://dx.doi.org/10.7816/ulakbilge-09-62-02.
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Ancient Greek art and culture had served as a significant guide for Western civilisation for centuries. Greek philosophy, literature and mythology as well as art and architecture had a major impact on artists especially in the periods of Renaissance and Neoclassicism. It is interesting to see that Ancient Greek sculpture has still been inspiring for the 20th century western painters, sculptors and performance artists. This article will focus on the visual representations of four statues -Apollo Belvedere, Venus of Milo, Nike of Samothrace and Sleeping Ariadne- in the imagination of artists working in various styles. Depictions of aforenamed statues and their novel and distinctive interpretations had been the subject of this descriptive research. 20th century creations have been scanned for traces of Ancient Greek sculpture. These timeless paragons of Classical and Hellenistic periods acquired a fresh life thanks to the 20th century art world’s admiration and respect for the Ancient Greek sculpture. It can be concluded that by juxtaposing classical and contemporary imagery, artists created memorable and engrossing works. Keywords: Ancient Greek Sculpture, 20th century, Western Art
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Afrianto, Afrianto, and Wahyu Widianto. "Mythological and Historical Representation: A Critical Discourse Analysis on Aeschylus’s Poems The Sacrifice of Iphigenia and The Battle of Salamis." Journal of Arts and Education 2, no. 1 (February 25, 2022). http://dx.doi.org/10.33365/jae.v2i1.57.
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An allusion is a reference to a well-known person, place, event, literary work, or work of art. The main purpose of this research is to find the allusion in the selected poems of Aeschylus The Battle of Salamis and The Sacrifice of Iphigenia and critically analyze the poems to explore and describe the story and mythology behind the expressions in each line. This research is conducted qualitatively and applies purposive sampling to choose and gather the data. It can be reported that both poems represent Greek mythology and history. The representation is derived from expressions, which are in the form of words and sentences. It is found that the allusion found contains names of figures in Greek mythology, such as god-goddess (Artemis), kings (Agamemnon, Atreus), and places (Strymon). These become the references to convey the meaning and to deliver the message of the poems. Regarding these names, the poet connects his idea in the poem to the Greek story and mythology. In addition, there are three functions of allusion confirmed in this research; those are delineating the character, carrying the theme, creating humor. Accordingly, it is noteworthy that allusion can be used to identify the correlation between a particular text and reality, history, and even mythology. In this case, it is noteworthy that allusion is not only a reference, but it also makes expression in the poem more vivid, flowery, interesting, and attractive.