Artykuły w czasopismach na temat „Mythology of Germany”
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1
Wolski, Paweł. "Rekonstruowanie żydowskiego miasta. Nils Roemer: German City, Jewish Memory. The Story of Worms. Waltham, Brandeis University Press, 2010, pp. 316. Michael Meng: Shattered Spaces. Encountering Jewish Ruins in Postwar Germany and Poland". Narracje o Zagładzie, nr 1 (31.12.2015): 338–41. http://dx.doi.org/10.31261/noz.2015.01.27.
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Reconstructing a Jewish town. Nils Roemer: German City, Jewish Memory. The Story of Worms. Waltham, Brandeis University Press, 2010, pp. 316. Michael Meng: Shattered Spaces. Encountering Jewish Ruins in Postwar Germany and Poland. Cambridge, Harvard University Press, 2011, pp. 351.
The text briefly compares two books: Nils Roemer’s German City, Jewish Memory. The Story of Worms and Michael Meng’s Shattered Spaces. Encountering Jewish Ruins in Postwar Germany and Poland. Both represent fascinating approaches to the process of the reconstruction of the Jewish identity as an important part of the European urban culture destroyed during WWII. By discussing these issues on the examples of Worms (Roemer) and Warsaw, Wrocław, Potsdam, Berlin (Meng) both, albeit in different ways, restore the Jewish identity of these cities not only by approaching the history of historical or architectural landmarks, but also by discussing some less material, discoursive memory markers such as mythology, tourism, politics etc.
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Králová, Magda. "Classical or Old Norse myth? German and Danish approaches to the use of myth in the modern literature at the turn of the 19th century". Acta Antiqua Academiae Scientiarum Hungaricae 61, nr 1 (17.05.2022): 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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Линченко, А. А. "Mythology of Time and Rhythms of Eternity: the Transformation of the Historical Culture of the Youth Movement in Germany (1900-1933)". Диалог со временем, nr 79(79) (20.08.2022): 396–403. http://dx.doi.org/10.21267/aquilo.2022.79.79.028.
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Статья представляет собой рецензию на монографию Р.-Я. Адриаансена “The Rhythm of Eternity. The German Youth Movement and the Experience of the Past, 1900-1933”, где представлен анализ трансформации исторической культуры молодежного движения в Германии 1900–1933 гг., как в аспекте теоретических представлений о времени и истории, так и в аспекте коммеморативных практик молодежи. На основе идей Гумбрехта автор показывает, что активно формировавшаяся в начале ХХ в. историческая культура молодежного движения в Германии может быть рассмотрена как случай культуры присутствия, ориентированной на экзистенциальный опыт, космологические ритмы и пространственное восприятие событий прошлого. Вместе с тем эволюция оригинальной мифологии времени, выработанной в молодежной исторической культуре, была актуализирована политической и социально-экономической ситуацией, а молодежные движения, являясь частью «консервативной революции», стремились не столько противостоять модернистскому историческому сознанию, сколько трансформировать вектор его дальнейшего развития. На примере молодежного движения автор показывает, что историческая культура Веймарской Германии была своего рода «лабораторией экспериментов» с различными видами темпоральностей. The article is a review of the monograph by R.-J. Adriaansen (R.-J. Adriaansen. The Rhythm of Eternity. The German Youth Movement and the Experience of the Past, 1900-1933. London / New York: Berghahn Books, 2015.227 p.). The monograph analyzes the features of the transformation of the historical culture of the youth movement in Germany in the period 1900-1933, both in the aspect of theoretical ideas about time and history, and in the aspect of commemorative practices of youth. Based on the ideas of H.U. Gumbrecht's, author shows that the historical culture of the youth movement in Germany, which was actively formed at the beginning of the last century, can be considered as a case of a presence culture focused on existential experience, cosmological rhythms and spatial perception of past events. At the same time, the book shows that the evolution of the original mythology of time, developed in the youth historical culture, was updated by the current political and socio-economic situation. The book substantiates the idea that the German youth movements of 1900-1933, being part of the “conservative revolution” of German society, did not so much strive to oppose the modernist historical consciousness as to transform the vector of its further development. Using the example of the German youth movement, the author shows that the historical culture of Weimar Germany was a kind of laboratory for experimenting with various types of temporalities.
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Sarakaeva, Elina A. "The Song of Nibelungen Bodies and How They are Described, Idealised and Eroticized. Part I. Der Helt Was Wol Gewahsen..." Corpus Mundi 1, nr 1 (20.04.2020): 112–34. http://dx.doi.org/10.46539/cmj.v1i1.7.
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The discovery of the medieval heroic epic “Das Nibelungenlied”in the XIX century Germany coincided with the search for new national mythology and symbols within the movement of Romantic medievalism. The heroic epic got a country-wide recognition asa great literary work that was supposed to serve as a source of German values and to reflect the German national character. With this approach the characters of the epic were re-constructed as embodiments of these German values, as ideals to follow. The article analyses the iconography of these characters, the “nibelungs”: the way they were visualized and depicted in fine arts and fiction and what ideological concepts were ascribed to their bodies and appearances. The first part of the article compares the descriptions of Nibelungen characters in the works of German authors of XIX-XXI centuries and compares them to the descriptions in the original text of the poem to see how cultural codes are constructed and interpreted through visualization of human bodies.
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Robinson, Seri C. "Cultures of Spalting". Encyclopedia 2, nr 3 (25.07.2022): 1395–407. http://dx.doi.org/10.3390/encyclopedia2030094.
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Wood decayed and colored by fungi, colloquially known as ‘spalted wood’, has been a source of art and folklore across numerous cultures. From intarsia and marquetry in Italy and Germany to woodturning in the U.S. and carving and mythology in Chile, the uses of, and stories about, spalted wood are explored, as well as how those have shaped their surrounding cultures as well as modern science.
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Korstanje, Maximiliano E. "Why Risk-Research is More Prominent in English Speaking Countries in the Digital Society". International Journal of Cyber Warfare and Terrorism 4, nr 1 (styczeń 2014): 8–18. http://dx.doi.org/10.4018/ijcwt.2014010102.
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This review is inspired by the dichotomy the authors observe in the ways Anglo and Mediterranean countries developed to control the risk. While countries as US, Germany and Holland are on the top of the risk-mitigation policies and bio-technology, others such as Spain, Italy and Argentina have left behind in the race. In this discussion the authors complement the contribution of Max Weber arguing that the sense of predestination, which was enrooted in Ancient Norse Mythology, was a criterion enough to develop the capitalism. However, this does not correspond with “the Reform”, but on the way ancient Germans celebrated the war. Unlike Greeks, Germans developed a sense of predestination to understand the future. At some extent, they were responsible for initiating the process of secularization, but once done, they appealed to technology for two peruses. On one hand, technology alluded to a control of the closed-future, but at the same time it allowed the implementation of steps to expand the life. On this context, terrorism (as a risk) is important for American society because it gives further value to capitalist mind, the control of future.
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Ermolaeva, Elena L. "St. Petersburg Mythology in an Ancient Greek Poem by F. B. Graefe on the 100-year Jubilee of the Imperial Academy of Sciences (1826)". Philologia Classica 15, nr 2 (2020): 371–93. http://dx.doi.org/10.21638/spbu20.2020.212.
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This article deals with a poem by academician F. B. Graefe (1780–1851) written in ancient Greek elegiacs (424 lines) with authorized German poetic translation en regard (1826). The poem was dedicated to the 100-year jubilee of the Imperial Academy of Sciences and printed in a small number of exemplars (für Wenige). The poem has never been republished until now. The article provides the Introduction (54 lines), the Epilogue, and selected passages in Greek and German, with Russian translation and commentaries. The Introduction describes the foundation of St. Petersburg and the Academy by Peter the First. Graefe’s stock images (the marshes on which St. Petersburg appeared; a poor Finnish fisherman with his old net; a tsar demiurge on the bank of the river; etc.), motifs (nature and civilization) and formulas (before — now; one hundred years later; etc.) reflect the official, cosmological St. Petersburg mythology. Three other selected passages of the poem describe the paleontological and Egyptian collections of the Academy museums. The author discusses Graefe’s possible sources, the historical context of his poem, and responces to it in Germany. Graefe’s poem in ancient Greek is a testimony of the Neuhumanismus in Russia.
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Holmgren, Derek. "Managing Displaced Populations: The Friedland Transit Camp, Refugees, and Resettlement in Cold War Germany". Central European History 53, nr 2 (czerwiec 2020): 335–52. http://dx.doi.org/10.1017/s0008938920000138.
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ABSTRACTThis article examines the resettlement of displaced populations in both postwar German states from 1945 to 1955. Specifically, it investigates who were the displaced populations circulating between the occupation zones, and what methods the German civil governments and occupying military authorities used to aid and resettle them. Through a case study of the Friedland refugee transit camp, this article argues for an expansive understanding of the term “refugee” to include more groups, ranging from Displaced Persons and German expellees to returning prisoners of war and civil internees. It further contends that transit camps were the linchpin in a system to render humanitarian aid, bring refugee movement under state control, and resettle the displaced. Analysis of camp operations and resident populations reveals the state as humanitarian actor in addition to international and charitable organizations, while also complicating the Cold War mythology of Friedland as the “Gateway to Freedom.”
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Metreveli, Lili. "Reception of Medea’s Image in Grigol Robakidze’s Novel „Megi the Georgian Girl“". International Journal of Social Sciences and Humanities Invention 5, nr 3 (22.03.2018): 4536–39. http://dx.doi.org/10.18535/ijsshi/v5i3.09.
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Greek mythology (myth about the Argonauts) have made character of Medea of Colchis the indivisible part of world cultural heritage. For centuries character of Medea has maintained its significance and comprised source of inspiration for the representatives of various spheres of fine arts.[1] Of course, regarding the contexts of the epochs (conceptual and esthetic position) and author’s intent, some motifs of the Argonauts’ myth and character of the woman of Colchis have been changing.
In this respect, novel „Megi, Georgian Girl“ by Georgian modernist writer, Grigol Robakidze is of interest. Text, first published in 1932 in Germany[2] was translated into Georgian in 2012 and it is not properly studied till now.
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Hopkins, Justin B. "Lured Home, and Back Again". Journal of Autoethnography 5, nr 2 (2024): 160–80. http://dx.doi.org/10.1525/joae.2024.5.2.160.
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For more than twenty years, fans have gathered annually in Castle Stahleck, Bacharach, Germany, to play Middle-earth: The Collectible Card Game, based on J.R.R. Tolkien’s literary mythology. I describe my experience attending this gathering and examine the game’s significance in my life, particularly in relation to my identity as a Third Culture Kid, a U.S. citizen having grown up in Senegal. The concept of home can be difficult and complex for TCKs, who often struggle to answer the question “where are you from?” In this essay, I analyze how fandom, fanship, and nostalgia have intersected with my TCK identity to provide a non-place-based home in Middle-earth. The game has accompanied me throughout life, helping me carry a sense of home with me, regardless of geographical location.
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Porfirieva, A. "The Middle of the Distance". Versus 2, nr 6 (16.09.2023): 6–19. http://dx.doi.org/10.58186/2782-3660-2022-2-6-6-19.
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In the perception of Richard Wagner's Lohengrin and in scholarly discourse on it, the legend associated with the tales of the Knights of the Grail prevails. But the romantic element in opera had a political and even revolutionary meaning for Wagner. The historical layer of the operatic action in Lohengrin draws on the Deeds of the Saxons by Widukind of Corvey and recounts the birth of the Yrst Germanic parish, united by Henry the Fowler, the “Father of the Fatherland” — and the Yrst Germanic emperor. The Romantic generation of German revolutionaries — Wagner's peers and associates — excavated the ancient history of Germany and German mythology from old manuscripts and established it in the minds of the aedgling nation. Lohengrin was the Yrst German opera to give artistic life to the revolutionary and patriotic ideas of the German Renaissance. The peculiarity of the opera lies in the interplay of the original Wagnerian principles of composition with operatic forms of Italian origin. The composer would later cite Johann Sebastian Bach as the ideal example of the “Germanic” in his ludicrous French wig and his fundamentally Italian style. By combining the rhetorical principle directly derived from Bach's music with a variety of German melodic sources from chorales to Romantic songs, Wagner had fully mastered his musical language. This article examines the compositional symmetries, supports, and arches that build the integral structure, new duet forms, and other Yndings that had a continuation in operas aber Lohengrin, as well as the main feature of this work: the combination of lyricism and tragedy, history and myth, which opens the way to countless interpretations of meaning on the modern opera stage.
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Sharypina, T. A. "Interpretations of Plot about Alceste: from Euripide’s Social and Domestic Drama to Franz Fühmann’s “Play with Music in Ancient Landscapes”". Nauchnyi dialog 12, nr 2 (1.04.2023): 253–73. http://dx.doi.org/10.24224/2227-1295-2023-12-2-253-273.
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The significance of the study is due to the need to update the memory of the personality and work of the East German writer Franz Fuhmann, undeservedly forgotten in the era of united Germany. The novelty of the proposed study is due to the fact that the materials that testify to the long and painstaking preparatory work to create a play about Alces and this work itself have not only not been translated, but have not been studied in Russian German studies either. It is noted that the problem of “inclusion” of artistic consciousness in new media makes it necessary to approach the reception of the classical heritage from a new point of view. It is indicated that Franz Fuman is one of the brightest experimenters in this field. It is shown that psychological rethinking of traditional mythological situations and the creation of their new versions prevail in his dramatic experiments, which allows us to see the timeless grain of the myth. It is argued that in the named work the writer does not deviate from the formulation of the burning topics of our time, but elevates their understanding to a higher level of the eternal questions of mankind. It is emphasized that in this context it is not surprising that the writer turned to the traditions of antiquity, primarily mythology. The author of the article believes that the study of the dramatic experiments of Franz Fumann helps to supplement the picture of the genre and style diversity of his work with new facts.
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Coelho, Victor de Oliveira Pinto. "Ernst Jünger e o demônio da técnica: modernidade e reacionarismo". Topoi (Rio de Janeiro) 18, nr 35 (lipiec 2017): 246–73. http://dx.doi.org/10.1590/2237-101x01803502.
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ABSTRACT The theme of this article is Ernst Jünger’s work in the interwar period, especially the essay The Worker (1932). Our focus is to point out, in the Jüngerian appropriation of technique, its character of anti-liberal political mythology. We dialogue with the political and intellectual horizon of the time (including authors such as Simmel, Kracauer and Benjamin), seeking to establish a problematization framework about the technique in Germany, where also emerges the so-called “Conservative Revolutionary Movement.” We point out in Jünger’s work the relationship between the “type” or “figure of the worker” and the notion of the sacrifice of individuality in favor of the total mobilization of technique, in the terms of reactionary modernism. Finally, as there are no references to authors and works in The Worker, we raise the hypothesis of an underlying dialogue with the intellectual tradition of Romanticism by confronting Jünger’s work with the theme of “asymptotic completion” (Lacoue-Labarthe) -the impossibility, in modern times, of sustaining a pre-established harmony.
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Head, Matthew. ""If the Pretty Little Hand Won't Stretch": Music for the Fair Sex in Eighteenth-Century Germany". Journal of the American Musicological Society 52, nr 2 (1999): 203–54. http://dx.doi.org/10.2307/831998.
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The image of the young lady at music is part of the mythology of the eighteenth century, nostalgically summoning a bygone era in European manners. How should such images be read, and to what uses are they put in the construction of the past and the present? Richard Leppert appeals to eighteenth-century iconography to argue the disciplinary function of music on women. This article extends Leppert's arguments in a newly uncovered repertory of songs and keyboard works published in eighteenth-century Germany "for the fair sex." Moving between prescriptions about musical practice specifically and women's character and place in the world more broadly, this music evinces cautionary and disciplinary rhetorics that accord with Leppert's readings. But whereas Leppert deals with paintings-more or less official representations-musical performance and reception complicate the picture. In performance, music offers possibilities for negotiation. On closer examination, instrumental music for the fair sex reveals a complex web of generic and stylistic motifs that undermine the manifest rhetoric of easiness and simplicity in the repertory and invoke the professional and public spheres. Questioning as well as espousing virtue, and haunted by the figure of the rake, songs for ladies reflect the instability in the emergent discourses of bourgeois femininity and the private sphere.
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Vaišvylaitė, Domantė. "Mitai Algirdo Landsbgerio poezijoje". Vārds un tā pētīšanas aspekti: rakstu krājums = The Word: Aspects of Research: conference proceedings, nr 26 (23.11.2022): 160–69. http://dx.doi.org/10.37384/vtpa.2022.26.160.
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Algirdas Landsbergis (1924–2004) is a playwright, prose writer, and journalist who, with the approach of the second Soviet occupation, like many other creators and intellectuals, was forced to leave Lithuania first to Germany and later to the United States. Most of Landsbergis’ texts were born outside Lithuania, although full of longing for home and images of Lithuania. The author’s work is characterized by mythical parallels; the intertwined mythological images function as a subtextual, symbolic plot and reveal an individual, unique creative style, opening the door to deeper meanings of texts. In a general sense, it can be said that myths encrypt the author’s way of thinking, self-awareness, the relationship between the individual and the world, the essential human experience and its importance. For this reason, the aim is to analyze what images of mythology can be found in Landsbergis’ poetry and how their meanings can relate to different periods of the author's life. In the article, mythological images of six poems published in 20th-century periodicals are analyzed („Tolimam draugui“, „New Yorko krantinės“, „Langas į kiemą“, „Rožė“, „Rankos“, „Kadais iškeliavusieji“).
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Marler, Joan. "Baltic Archaeology, Cultural History, Ancient Lithuanian Symbolism, Old Europe, and the Archaeomythology of Marija Gimbutas". Archaeologia Lituana 23 (30.12.2022): 10–33. http://dx.doi.org/10.15388/archlit.2022.23.1.
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Marija Alseikaitė-Gimbutienė (Gimbutas) (1921–1994) was born and raised in Lithuania within a family of physicians and intellectuals devoted to the preservation of Lithuanian folk culture. She studied archaeology with Professor Jonas Puzinas who was the first scientifically trained archaeologist in independent Lithuania. Marija Gimbutas was thoroughly trained in Eastern European archaeology, Baltic prehistory, Indo-European linguistics, ethnology, history, folklore, mythology, and European languages taught by the most accomplished Lithuanian scholars in their fields. In 1942 she earned a Master՚s degree at Vilnius University for her thesis on “Burial Practices in the Lithuanian Iron Age.” In 1946 she earned her doctorate in archaeology from Tübingen University in Germany before immigrating to the United States in 1949. This paper traces her prodigious production of major publications and scholarly achievements fostered by her multidisciplinary education in Lithuania. It discusses the development of her Kurgan hypothesis, her excavations in Southeastern Europe, her theory of Old Europe, her formulation of archaeomythology, and the ancient veneration of the earth as the source of life.
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Alybina, Tatiana. "Vernacular Beliefs and Official Traditional Religion: The position and meaning of Mari worldview in the current context". Approaching Religion 4, nr 1 (7.05.2014): 89–100. http://dx.doi.org/10.30664/ar.67541.
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Vernacular religion connected with the clan was expected to adapt in the context of globalisation and the vanishing ideals of traditional (tribal) societies. But at the turn of the twentieth and twenty-first centuries a revival of European ‘paganism’ has appeared. A return to vernacular beliefs is not only happening in the mass religious mind of some Eastern European and Asian people, but also in the romantic mythologemes which are being created by national elites. Lithuanians, who were Christianised in the fourteenth century – the last nation in the Baltic region to undergo this process – recall their heathen roots; Ukrainians revive their rodnoverie – indigenous beliefs – in an attempt to resist the Orthodox and Catholic Churches. Apart from this there are other pre-Christian faith organisations in Latvia, Estonia, Germany and England. The traditions of the pre-Christian societies attract people through their apparent proximity to communal peasant culture. Followers of some of these beliefs are interested in popularising Viking mythology. The activities of druids and adherents of the Northern European Asatru religion revive ancient festivals and ceremonies. The popularisation of these movements can be seen as an attempt to resist an encroachment of the modern, globalised, urbane society.
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Kryukova, Olga S. "The art space in Eugene Vodolazkin’s novel Brisbane: The imagological aspect". Imagologiya i komparativistika, nr 18 (2022): 365–79. http://dx.doi.org/10.17223/24099554/18/18.
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The article considers the spatial opposition in the novel Brisbane by Eugene Vodolazkin. The spatial opposition “Russia - other countries” for the character first appears in Leningrad, when he studies at university. This opposition is at first somewhat illusory in its nature. The “Russia - Germany” opposition is an invariant of the “Russia - other countries” spatial opposition and also appears in the story during Gleb’s studies at university. The so-called “German” for Gleb is primarily associated with Katarina, later Katya - the name she took out of respect for the Russian roots of Gleb, as well as with the echoes of World War II, which sound muted, sometimes conciliatory. The “German” in the novel is also embodied in cultural onomasticon. The spatial opposition “Russia - Italy” occupies a somewhat more modest place than the opposition “Russia - Germany” in the plot, but it is significant for the national and civil self-determination of the character. Contemporary Italy appears in the novel closer to its end and is associated with the second storyline - the plane of the present. The comparison of Russia and Italy takes place symbolically, on the border of eternity, in timeless space. The “Italian” in the novel is also associated with the world of music. Finally, another spatial opposition, “Russia - Ukraine,” plays an important role in both the plot and the description of the main character of the novel, and organically combines the two national identities, without separating them, as well as the cultural and historical space of Russia and Ukraine. The article also analyzes the oppositions “Kyiv -Petersburg” and “Kyiv - Moscow.” A detailed topography in the novel appears when describing a non-alien space. The motifs of topophobia and to-pophilia when mastering someone else’s space are distinguished. The art world of the novel also includes images of a liminal space. These are train stations and airports, a kind of a gate of the city (or country), the state border, the Berlin Wall. In Slavic mythology, there is another, invisible ontological boundary - between this-being and that-being, the visible symbols of which are the church and the cemetery, separating the world of the living from the kingdom of the dead. These loci are also presented in the novel. In a sense, Brisbane is also a liminal space, since Australia in ordinary consciousness is often perceived as the edge of the world. Brisbane is a metaphor for a little paradise, heaven on Earth, an unattainable dream desired by Arcadia. Brisbane is a metaspace characteristic of neomodernism, which connects all the plot nodes of the novel. The author declares no conflicts of interests.
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Burton, Alan, i Tom May. "‘Treading on sacred turf’: History, Femininity and the Secret War in the Plays for Today Licking Hitler, The Imitation Game and Rainy Day Women". Journal of British Cinema and Television 19, nr 3 (lipiec 2022): 325–59. http://dx.doi.org/10.3366/jbctv.2022.0629.
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The article examines the three single television plays Licking Hitler, The Imitation Game and Rainy Day Women, which were broadcast in the celebrated BBC drama strand Play for Today between 1978 and 1984. Each play was set within the secret war: at a radio station broadcasting black propaganda to Germany, at Bletchley Park, and at the heart of a secret mission to investigate dark doings in remotest Fenland. Similarly, each play dealt substantially with female characters and their troubled experience of wartime Britain. The plays provided a revisionist treatment of the mythology of the Second World War, painting a less cosy picture of the ‘People’s War’, with its supposed egalitarianism, shared sacrifice and vision of the different classes all supposedly ‘pulling together’. The article investigates the changing historiography of the secret war, a process in which the authorities attempted to manage the release of wartime secrets dealing with sabotage, resistance, deception and cryptography, and shows how the three dramas came into being through, and were influenced by, the opening up of the secret archive. Detailed attention to the production of the plays and their reception considers how the three historical dramas related to the Play for Today strand, traditionally celebrated for productions dealing with contemporary social and political issues.
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Rudling, Per A. "Multiculturalism, memory, and ritualization: Ukrainian nationalist monuments in Edmonton, Alberta". Nationalities Papers 39, nr 5 (wrzesień 2011): 733–68. http://dx.doi.org/10.1080/00905992.2011.599375.
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Canadians of Ukrainian descent constitute a significant part of the population of the Albertan capital. Among other things, their presence is felt in the public space as Ukrainian monuments constitute a part of the landscape. The article studies three key monuments, physical manifestations of the ideology of local Ukrainian nationalist elites in Edmonton: a 1973 monument to nationalist leader Roman Shukhevych, a 1976 memorial constructed by the Ukrainian Waffen-SS in Edmonton, and a 1983 memorial to the 1932–1933 famine in the Ukrainian SSR. Representing a narrative of suffering, resistance, and redemption, all three monuments were organized by the same activists and are representative for the selective memory of an “ethnic” elite, which presents nationalist ideology as authentic Ukrainian cultural heritage. The narrative is based partly upon an uncritical cult of totalitarian, anti-Semitic, and terroristic political figures, whose war crimes, ethnic cleansing, and collaboration with Nazi Germany the nationalists deny and obfuscate. The article argues that government support and direct public funding has strengthened the radicals within the community and helped promulgate their mythology. In the case of the Ukrainian Canadian political elite, official multiculturalism underwrites a narrative at odds with the liberal democratic values it was intended to promote. The failure to deconstruct the “ethnic” building blocks of Canadian multiculturalism and the willingness to accept at face value the primordial claims and nationalist myths of “ethnic” groups has given Canadian multiculturalism the character of multi-nationalism.
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Mathie-Heck, Janice. "Translating Gjergj Fishta's epic masterpiece, Lahuta e Malcis, into English as The Highland Lute". TranscUlturAl: A Journal of Translation and Cultural Studies 1, nr 2 (22.07.2009): 140. http://dx.doi.org/10.21992/t9j04r.
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The Highland Lute, the Albanian national epic poem, contains 15,613 lines. It mirrors Albania’s difficult struggle for freedom and independence which was finally achieved in 1912. It was important for Robert Elsie and I to achieve an atmosphere similar to that of other important European epics such as Beowulf (England), The Kalevala (Finland), and the grand medieval poems of the eleventh and twelfth centuries such as The Song of Roland (France), Nibelungenlied (Germany), and Poem of the Cid (Spain). Rhythmically, The Highland Lute is very much like the American writer Henry Wadsworth Longfellow's epic poem, Hiawatha, parts of which I loved to recite as a young girl.
Our task with translating The Highland Lute into English has been to make the language relevant and understandable for the modern reader while still retaining its colloquial, archaic, majestic, and heroic feel which gives a strong sense of the past. Quite a challenge! We translated many expressions unique to Gheg, and did our best to describe symbols of Albanian mythology and legend such as oras (female spirits), zanas (protective mountain spirits), draguas (semi-human figures with supernatural powers), shtrigas (witches), lugats (vampires), and kulshedras (seven-headed dragon-like creatures). We kept the octosyllabic rhythm consistent throughout, and we captured the qualities common to all epics: alliteration, assonance, repetition, hyperbole, metaphor, archaic figures of speech, concrete descriptions, colour, drama, passion, a range of emotions, intensity, sensuality, lots of action, rhyme where possible, and an exalted, dignified tone.
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Getashvili, Nina. "Alexander Burganov. In the depths above reality. (Antique motifs in the context of creative work)". Scientific and analytical journal Burganov House. The space of culture 16, nr 3 (10.09.2020): 61–70. http://dx.doi.org/10.36340/10.36340/2071-6818-2020-16-3-61-70.
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For decades, images of antiquity have appeared in the creative work of academician Alexander Burganov. The sculptor declaratively emphasizes his focus on the cultural tradition which evolved from the cradle of Antiquity and which is, therefore, understandable to anyone who shares its humanistic ideals. The article refers to his personal exhibitions and events of the last decades: “Dreams Within Us. A Magic Crystal” at the Moscow Central House of Artists in 1987, “Magic Realism” in Germany in 1993, “Antique Motifs in Modern Sculpture” in the Burganov House Museum at which he presented his “legends and myths of Ancient Greece” in 2017, and the exhibition held in the Antique Hall in the Museum of Archeology of the Westphalian Wilhelm University of Münster in 2013. Works and cycles, never directly illustrating ancient mythology but unconsciously translating the archetypal, the transcendental through personal experience, a sensory reaction, are considered. The frequent presence of Burganov’s works of art in an “intermediate” state, in the process of transformation, which makes it easy to detect the surreal component, is their feature. Burganov’s "antique" sculptures organically exist not only in exhibition halls but also outside them - be it the courtyard of the Burganov House Museum or the square in Brussels where the sculptures in the window display of the Burganov House at the Grand Place are no less eye-catching than the monument in the same square. Noble restraint (with clearly readable spectacularity), bearing in itself, within itself, dreams and passions, reality and mysticism, gives Burganov’s "antique" images-metaphors a special feature that requires comprehension of the slow, at the same time the reasonable and the emotional in order to be able to penetrate the limits of the immanent artist’s impermeability.
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Kostyuk, Iryna. "Fundamentals of mythologization of personality in the context of the totalitarian society". Bulletin of Lviv National Academy of Arts, nr 40 (1.07.2019): 25–30. http://dx.doi.org/10.37131/2524-0943-2019-40-3.
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The article analyzes the problem of using social myths in the system of a totalitarian society, outlines the main mechanisms of their influence on all spheres of society life, scenarios of activity and modifications in modern times. The totalitarian societies of the twentieth century (on the example of the Soviet Union and Germany) created their myths, because without them, totalitarianism is in principle impossible, and also actively used millennial mythological schemes and images already created by the millennium. The modern information society gives rise to new myths, commercially oriented, but the mechanisms of influence are rooted in archaic myth-making and myth-creation of totalitarian states. Objectives – to analyze the mechanisms of the functioning of myths in a totalitarian society, the basic principles of mythologizing the image, the transformation of social myths in modern society. Scientific novelty. All modern theories of social myths can be conditionally divided into two kinds of flows: 1) those that interpret myth as a certain way of expressing the unconscious, to begin even an irrational experience that is experienced subjectively but is unique to the whole community; 2) theories that emphasize his or her ability to form types of thinking and norms of behavior (which is extremely important for totalitarian societies that want to ensure total control over citizens). Results. Since the most researched totalitarian societies today are Soviet and Nazi, it is best to go there according to the models of the existence of mythological paradigms, even when realizing the diversity of these varieties of totalitarian regimes - the Nazi totalitarianism is directed to the pre-Christian past. at the end of the XXI century. the latest social myths have started to play a much larger role than the new weapons. Considering the tangible effect of civilized means of influence on extremely militant states (through a set of economic and political sanctions, access to global financial systems and levers of influence on the politics and economy of other states), it is social myths relayed through all possible media (directly or veiled). ), began to form mass public opinion and even state ideology. It is the mythology that offers a person the key to understanding the situation (social, political, spiritual, emotional) in which they find themselves. The mythology (ideology) of an individual society (or even a particular social group) comprehensively characterizes its representatives, their motivation, and their interest. Myths are a guarantee that a particular community will not be completely destroyed during radical changes. Therefore, in times of social and economic crises, myth gives a person the possibility of unconditional identification with the team. Conclusions. Society and civilization of the twentieth century. modestly retreated to the laws and regulations of mythological consciousness, mythological laws, because for thousands of years man has preserved the collective subconscious and resist (in its mass) cannot, and "others" immediately found themselves outside the society, becoming social exiles (this in the scene of exile) or died. The modern information society gives birth to new, commercially oriented myths, but the mechanisms of influence are rooted in the archaic myth-making and myth-making of totalitarian states.
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Vinogradov, Vladimir V. "Transformation of the Archaic Myth and the Discourse of Power in Alexander Sokurov’s “Moloch”". Journal of Flm Arts and Film Studies 10, nr 4 (15.12.2018): 62–68. http://dx.doi.org/10.17816/vgik10462-68.
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The article deals with the transformation of myth in A. Sokurovs Moloch. The author investigates the mountain mythology in German culture and connects it with the neo-mythology created by A. Sokurov. He also analyses the three incarnations of Moloch: Adolf Hitler, the Nazi ideology and entropy.
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Muratava, Helena Y. "The Artistic Code of K. Petrov-Vodkin`s Painting “Bathing of the Red Horse” in Poetic Texts". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 70 (2023): 209–19. http://dx.doi.org/10.37816/2073-9567-2023-70-209-219.
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The paper examines the painting by K. Petrov-Vodkin “Bathing of the Red Horse”, its reflection and artistic refraction in poetic texts. The study opens with describing the artistic image of the horse in world mythology, religions, folklore, art, world and domestic literature. The horse is one of the most mythologized animals: it is the sun-horse, the fire-horse, a symbol of death and resurrection, a symbol of male power, the embodiment of a connection with the supernatural world. The cult of the horse underlies various amulets, for example, in the decoration of a Russian hut, crowned with a horse, in amulets with the image of a horse's head, in relation to a horseshoe as a symbol of happiness in home, etc. The painting “Bathing the Red Horse” was exhibited in 1912. Until now, the meaning of this canvas is not completely clear, so that the picture has many readings and interpretations. The horse`s red color specifically caused various disputes. After the revolution of 1917, this powerful red horse was perceived as a symbol of revolution, a symbol of change. In this sense, the picture is truly prophetic: very soon the whole world will turn red with the First World War, the revolution, fascism in Germany, and the Second World War. Four horsemen of the Apocalypse raced hard through the 20th century. The horse is a symbol of nature, of the huge world surrounding man, unpredictable, elemental, scary and strong in its own way. Red horse — The Sun Horse, a symbol of male strength, hybrid of a horse and a bird gives rise to the hope that he will not throw a teenage boy to the ground and crush him, but on the contrary, with all his strength, endurance, patience, will help him and carry the boy to the bright side of life. It became a kind of response to the mood of decadence and hopelessness among the Russian intelligentsia of the early twentieth century. As the paper shows, in poetic texts one may also come across a different understanding of the picture (personification of a happy childhood, modern Russia, symbol of a better time to come, etc.).
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Papamarinopoulos, S. P. "ATLANTIS IN SPAIN IV". Bulletin of the Geological Society of Greece 43, nr 1 (19.01.2017): 126. http://dx.doi.org/10.12681/bgsg.11167.
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Many analysts in the past faced Atlantis’ main city with the same way they faced his idealised concentric cities which he described in his dialogues. However, Atlantis’ concentric city has a marked difference which is recognisable if the analyst has geological knowledge. For instance the concentric scheme, the geothermal springs and the black, white and red rocks correspond in volcanogenic, impactogenic and diapeirogenic craters. It is known that building material from rocks existing in the vicinity of the two first, from the three, types of craters have been used in the past. It is also known that cities have been developed both on volcanogenic craters such as Santorin in the Aegean Sea, or on impactogenic craters such as in Nordlichen in Germany and in Yemen’s capitol respectively. A simulation experiment was carried out exactly in the platonic geomorphological conditions assuming that the concentric scheme could be of impactogenic origin. The result showed that such multi-ringed crater exhibits the platonic characteristics presented in Critias. However, such solution is not unique because the other two types of craters have not been tested yet. The statistical criterion which may be applied in all three simulations in the described platonic environment will decide by itself which is the most optimal solution between all three. Many experts who know nothing about Plato’s views about science and mythology can not differentiate between genuine and fabricated myths utilised by Plato. Most of them do not understand that the multiringed crater called Atlantis too by Plato is revealed in the ancient myths prior to Plato and was placed by these writers West of the Gibraltar Straits. Philostratus, in Roman times, is the only Greek writer who described its geological nature in detail and presented its position in Southern Spain. That crater Geryonis was associated with Heracles’ visit in Iberia. In the latter’s sea environment there are several submerged gigantic diapeirogenic craters and a small one visible even today in Andalucía’s. The geological age of the submerged craters, in Cadiz, precedes the prehistoric Greeks’ and Iberians’ presence in the area. One of them possibly became the object of observations of prehistoric Greek mariners who passed Heracles’ Pillars and it was interpreted as Poseidon’s act. These Greek mariners were accustomed to interpret craters in the Aegean Sea such the Nisyros’, for instance, one as Poseidon’s act too.
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Gogröf-Voorhees, Andrea. "Mythology, Madness and Laughter: Subjectivity in German Idealism (review)". German Studies Review 35, nr 1 (luty 2012): 155–56. http://dx.doi.org/10.1353/gsr.2012.a465671.
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Delhey, Matthew J. "Hölderlin’s Politics of the New Mythology". Journal of Speculative Philosophy 37, nr 3 (czerwiec 2023): 369–80. http://dx.doi.org/10.5325/jspecphil.37.3.0369.
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ABSTRACT This article reevaluates Hölderlin’s social and political thought in the 1790s. Against Georg Lukács, it argues that Hölderlin’s politics of the new mythology, while utopian, are not mystical. In the Fragment of Philosophical Letters and the Oldest System-Programme of German Idealism, Hölderlin instead articulates two fundamental claims. Socially, the new mythical collectivity must elevate (erheben) the social relations produced by bourgeois society, exalting them in aesthetic-religious form, rather than sublating (aufheben) them, modifying both their form and their content. Politically, realizing this new collectivity requires transcending the state, and so is essentially revolutionary. Hölderlin’s prosaic writings thus supplement Hyperion’s romantic critique of modernity. They take as their point of departure a sober exposition of the social relations of the market emerging in Hölderlin’s time and, from within these relations, excavate a new mythical collectivity capable of suturing the fragmentary divisions of modern life.
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Plotnikova, Anna. "The specifics of Croatian folk mythology". Slavianovedenie, nr 5 (grudzień 2021): 24–37. http://dx.doi.org/10.31857/s0869544x0017673-3.
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The article is devoted to the areal distribution of Croatian mythological characters, taking into account the general picture of folk mythology in the space of Southern Slavia. The author regards demonological images specific to the Adriatic, southern and northern parts of Croatia (including the Istrian peninsula), northwestern Croatia (often representing a single whole with the neighboring Slovenian area), Slavonia and Croats living in the environment of a foreign-cultural and foreign-speaking majority (Drava’s Croats in Hungary and Burgenland’s Croats in Austria and Hungary). The need to analyze character types considering the neighboring South Slavic regions (Bosnian, Serbian, Slovenian) is caused by the common system of distribution of cultural dialects and the corresponding terminology of folk culture in the whole South Slavic territory. As far as the geolinguistic study of folk mythology is concerned, and more broadly – cultural dialects, the ethnolinguist’s attention naturally falls on borrowings in the names of demonological characters: Italian, German, Hungarian, etc.
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Sokolova, Elizaveta. "BOOK REVIEW: GRIMM J. GERMANIC MYTHOLOGY : IN 3 VOL. (IN RUSSIAN TRANSLATION)". RZ-Literaturovedenie, nr 1 (2021): 33–45. http://dx.doi.org/10.31249/lit/2021.01.03.
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The Russian translation of «Germanic Mythology», a fundamental work of Jacob Grimm (1785-1863), is reviewed. The outstanding German philologist and ethnographer had not only gathered pagan beliefs of Germanic tribes and presented them with encyclopedic completeness in his influential work, but also demonstrated how deeply they are concerned with the German language. The book had been published three times in the author's lifetime (1835, 1844, 1854), the most complete edition had come soon after his death (1875-1878). In 2018 it was translated into Russian for the first time (by D.S. Kolchigin) and published in a three-volume academic edition, supplied by the extensive commentary and reference apparatus.
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Tybjerg, Tove. "Wilhelm Mannhardt - A Pioneer in the Study of Rituals". Scripta Instituti Donneriani Aboensis 15 (1.01.1993): 27–38. http://dx.doi.org/10.30674/scripta.67204.
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In the history of the study of religion the German folklorist Wilhelm Mannhardt (1831-1880) was the first to undertake a systematic study of rituals. This was not because of a specific interest in rituals; Mannhardt's interests lay with mythology, and all his life he regarded himself as a mythologist. In focusing on mythology Mannhardt was in tune with the spirit of his age, but to undertake a systematic study of rituals was something new. At the time the novelty of this approach went practically unnoticed, and Mannhardt himself barely reflected on method. There are complicated relations between a scholar's ideas and the ideas of his time, between what he intends to do and what he actually does and achieves.
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Oboladze, Tatia. "Wine, Opium, and Hashish in Georgian and European Symbolism". Ars & Humanitas 16, nr 1 (22.12.2022): 219–30. http://dx.doi.org/10.4312/ars.16.1.219-230.
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The subject of the article “Wine, Opium, Hashish in Georgian and European Symbolism” is the identification of the cultural links between Georgian and European (primarily French and, German) symbolism. Our goal is to determine the role and place of Georgian symbolism in the world literature context and study the cultural-aesthetic ties that have influenced the art of the Georgian symbolist group, the process of forming their aesthetic taste and worldview. In this article, we focus on the genesis of the symbolist theory of the myth, its specific nature and the motivation for the creation of a new mythology. In addition, we consider the theme of wine, opium and hashish in Georgian and European cultural areas, and analyse the conceptual sense and function of this new mythology.
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Ito, Toshiko. "Wandelnde Horizonte des Weltwissens". Journal of Educational Media, Memory, and Society 10, nr 1 (1.03.2018): 82–105. http://dx.doi.org/10.3167/jemms.2018.100106.
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*Full article is in GermanChanging Horizons of World Knowledge: On the Presentation of Space in Primary School Geography Textbooks of the Japanese EmpireEnglish abstractThe presentation of space in primary geography textbooks of the Japanese Empire (1868–1945) changed according to the political climate. In the liberal phase of the 1870s, Japanese geography schoolbooks dealt with the entire earth. In the revisionist phase of the 1880s, in order to encourage a sense of national identity, no knowledge of lands outside of Japan was imparted to lower primary school students. In the phase of colonial expansion from the 1890s, the world reemerged in geography school books, with an increasing emphasis on the reorganisation of East Asia. Drawing on premodern mythology, primary geography textbooks served to consolidate the Japanese concept of empire in accordance with the respective political situation. German abstractDie Raumvorstellung in den elementaren Geographieschulbüchern des Japanischen Kaiserreichs (1868–1945) änderte sich mit dem politischen Klima. In der liberalen Phase der 1870er Jahre behandelten die Geographieschulbücher alle Erdräume. In der revisionistischen Phase der 1880er Jahre wurde den unteren Grundschülern zur Wahrung der nationalen Identität kein Wissen über die Erdräume außerhalb Japans vermittelt. In der kolonialen Expansionsphase ab den 1890er Jahren fanden die Erdräume außerhalb Japans wieder Eingang in die Geographieschulbücher, wobei die Neuordnung Ostasiens immer stärker betont wurde. Auf der vormodernen Mythologie basierend dienten die elementaren Geographieschulbücher der Festigung des japanischen Reichsgedankens nach Maßgabe der jeweiligen politischen Lage.Keywords: Geographieschulbücher, Großostasiatische Wohlstandssphäre, Japanisches Kaiserreich, koloniale Expansion, nationale Identität, Raumvorstellung
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Buck, Nikolas. "„So muß Loki gelacht haben“: Zum Einfluss nordischer Mythologie auf Arno Schmidts Juvenilia". European Journal of Scandinavian Studies 53, nr 2 (1.10.2023): 255–68. http://dx.doi.org/10.1515/ejss-2023-2017.
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Abstract Arno Schmidt is one of the most thoroughly researched German post-war authors. However, there is a significant gap with regard to his stationing in Øverås, Norway, as part of the German occupation troops during the Second World War. This applies not only to Schmidt’s experiences in Norway, but also to the influence of this period on his literary work. Accordingly, I will pursue the question of how Schmidt used his ’Norwegian years’ in his literary work. In particular, I will consider the influence of Nordic mythology on the group of the so-called “Juvenilia”, four of which originated in Norway.
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Piwowarczyk, Dariusz J. "National Civil Religion in the German Empire (1871-1918)". Roczniki Teologiczne 66, nr 9 (27.08.2019): 93–108. http://dx.doi.org/10.18290/rt.2019.66.9-7.
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The article draws on the argument presented by Carolyn Marvin and David Ingle (1996), and specifically on the thesis that nationalism can be also approached as a religious phenomenon- with its distinctive mythology, dogmas, “saints,” and ritual behavior; they term such ideological-ritual complex “national civil religion.” Using this heuristic tool, I analyze the quasi-religious content of German national ideology dominant in the Kaiserreich (1871-1918) by discussing three layers of imagery that can be distinguished in this ideological system: appropriated history as vell as Christian-Biblical and mythological-folkloric components.
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Rius, Carles. "Güell Pavilions of Antoni Gaudí as an example of new mythology". De Arte. Revista de Historia del Arte, nr 22 (1.12.2023): 225–45. http://dx.doi.org/10.18002/da.i22.7603.
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The Güell Pavilions are known for being the first work that Antoni Gaudí built for the person that would become his main patron, Eusebi Güell. For years, these buildings have been considered to have some functional roles, and to contain some sporadic references to the L’Atlàntida, a poem written by Jacint Verdaguer. In this paper, however, I will argue that this work of Gaudí is more than this, since L’Atlàntida was already a good example of the idea of a new mythology, and Gaudí intertwined these literary references with “aesthetic geometry”, which had been reconstructed by the German artist Peter Lenz. I will show where and how this geometry is present in the Güell Pavilions. As a result, these buildings will reveal as an organic work, and a good example of the idea of a new mythology applied to plastic arts.
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Walinski-Kiehl, Robert. "Reformation History and Political Mythology in the German Democratic Republic, 1949-89". European History Quarterly 34, nr 1 (styczeń 2004): 43–67. http://dx.doi.org/10.1177/0265691404040008.
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Skurnowicz, Joan S. "Soviet Polonia, the Polish State, and the New Mythology of National Origins, 1943-1945". Nationalities Papers 22, S1 (1994): 93–110. http://dx.doi.org/10.1017/s0090599200022169.
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In a time of international crisis, a small group of Polish Communist intellectuals on Soviet territory, with approval from the Stalinist government, harnessed the national myths of a people faced with total destruction in the name of fascist Aryan supremacy. These intellectuals, ethnic Poles and Polish Jews, rejected, revitalized, or revolutionized old national myths and created a new mythology. They coordinated their efforts closely with the anti-Hitlerite National Front Strategy adopted by the Comintern following the German invasion of the Soviet Union in June, 1941. They sincerely, albeit naïvely, believed that their creation manifestly assured the Poles of their national identity. They also believed that the new mythology promised not only the survival of an honorable people but also the rebirth of their state in a brighter future in solidarity with fellow Slavs, and ultimately with the Stalinist Soviet state which they admired.
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Epstein, Catherine, i Alan L. Nothnagle. "Building the East German Myth: Historical Mythology and Youth Propaganda in the German Democratic Republic, 1945-1989". American Historical Review 106, nr 2 (kwiecień 2001): 672. http://dx.doi.org/10.2307/2651773.
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Barclay, Gordon J., i Adam Brown. "‘Churchill abandoned the fighting Scots’: The Mythology and Reality of the Surrender of the 51st Highland Division at St Valery-en-Caux, 12 June 1940". Scottish Affairs 32, nr 1 (luty 2023): 19–54. http://dx.doi.org/10.3366/scot.2023.0441.
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The 51st (Highland) Division surrendered to the Germans on 12 June 1940. The force lost at St Valery was made up not only of Scots, but also English, Welsh, French and French Colonial troops. But in recent decades the division’s loss has been recast as a story of solely Scottish loss, deployed in narratives of grievance and victimhood. We contrast the mythology with the historical reality, in the context of the distribution of ‘fake history’ in the service of nationalist politics ( English 2021 ). This paper considers three aspects of the events of 1940: 1. The creation, development and use of the mythology. 2. The nature of the 51st Highland Division – how ‘Highland’, how ‘Scottish’ was the force lost at St Valery? 3. The actual events of May-June 1940. We do this by drawing together existing and new scholarship, including more from French perspectives than is common, to summarise knowledge in an accessible form for a wider audience.
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Milosavljevic, Boris. "Dimitrije Matic: Hegelianism and Naturalism". Theoria, Beograd 58, nr 1 (2015): 103–51. http://dx.doi.org/10.2298/theo1501103m.
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Dimitrije Matic (1821-1884) was a philosopher, jurist, professor of public law at the Belgrade Lyceum and politician. He served as Serbia?s Minister of Education and Church Affairs, acting Foreign Minister, Speaker of the Parliament, and member of the State Council. He was president of the Serbian Society of Letters and member of the Serbian Learned Society. Matic belonged to Serbian liberal-minded intellectual circles. He believed that the rule of force was unacceptable and that governments should promote and support popular education. Matic studied philosophy and law in Serbia (Kragujevac, Belgrade), Germany (Berlin, Heidelberg) and France (Paris), and received his doctorial degree in philosophy in Leipzig. In Berlin Matic embraced Hegel?s speculative philosophy and theory of state (philosophy of law). Among his professors were Georg Andreas Gabler (Hegel`s immediate successor), Otto Friedrich Gruppe, Wilhelm Vatke etc. In Halle he listened to another Hegelian, Johann Eduard Erdmann. He had the opportunity to attend Friedrich Schelling?s lectures on the philosophy of mythology. If the Right Hegelians developed Hegel?s philosophy along the lines they considered to be in accordance with Christian theology, and the Left Hegelians laid the emphasis on the anti-Christian tendencies of Hegel?s system and pushed it in the direction of materialism and socialism, Matic would be closer to the first. Actually, he was mostly influenced by his professor Karl Ludwig Michelet, with whom he established a lifelong friendship. Matic?s doctorial thesis (Dissertatio de via qua Fichtii, Schellingii, Hegeliique philosophia e speculativa investigatione Kantiana exculta sit) addressed the question of how the philosophy of Fichte, Schelling and Hegel developed from Kantian speculative thought. The paper deals with the question whether Matic took a shift from Hegelianism to Positivism (Naturalism) in the 1860s, which is a claim that was taken for granted in the Yugoslav (Serbian) Marxist histories of Serbian philosophy after the Second World War and Communist revolution. In fact, it is rooted in Milan Kujundzic-Aberdar?s (1842-1893) periodization of the Serbian philosophical literature. Kujundzic, professor of Philosophy at the Belgrade Great School, classified Matic?s Science of Education into the latest period of natural philosophy. In order to answer the question, the paper looks into the evolution of Matic?s philosophical, legal and political views. Matic followed Hegelian philosophy in his: Short Review (according to Hegel?s ? Psychology in Encyclopaedia of the Philosophical Sciences); Principles of Rational [Vernunftrecht] State Law [Staatslehre] according to Heinrich Zepfel?s book on the philosophy of law (Grunds?tze des allgemeinen und des konstitutionell-monarchischen Staatsrechts and Hegel?s Philosophy of Law) and History of Philosophy (according to Albert Schwegler?s History of Philosophy). There is nothing in Matic?s Science of Education that would corroborate the claim that he shifted from Hegelianism to Positivism. Though he had to attune his views to the changed, anti- Hegelian, intellectual climate and influences on academic life, he remained a Hegelian. The paper deals with the reasons why the Marxist histories of Serbian philosophy insisted on his alleged conversion.
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Shalaghinov, Borys. "On History of Romantic Overturn in Modernist Mythology". Академічний журнал "Слово і Час", nr 5 (29.05.2019): 29–40. http://dx.doi.org/10.33608/0236-1477.2019.05.29-40.
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The paper deals with a Greek myth adopted by modern scholars, which is hypothetically treated not as an authentic picture of antiquity, but philosophical construct, developed by early German romantics on the basis of Kantian discourse. The myth-narration was understood as a way of mental transformation of the hostile environment (embodied by the rite of human sacrifice) in terms of its humanization, aesthetization, heroization, intellectualization; the purpose of individual existence was interpreted as a unity of nature, society and the person, immersion in the ‘myth-environment’ being a condition for such unity. A further evolution of the myth took place due to civilizational shifts in Europe, which ‘fragmented’ human unity and destroyed the original unity of mythology. The modernist myth (Joyce, Messiaen, Bachelard) gave place to deintellectualization, particularization and desocialization of public life that urged to turn towards the blind nature ‘before civilization’ and stimulated indifference about the last preceding stages of culture. The life force was understood as returning to pure instinct that indicates the presence of nature in man. The distinction between sophisticated connoisseurs of culture and the bourgeois ‘mass’ became especially sharp; the ‘myth’ got really destructed by transferring it from actual life to the setting of everyday comfort, bypassing the spiritual state of the individual. The ‘myth of intertextuality’ (book myth, new-Alexandrian myth) is characteristic of the period of decline, as it is oriented not towards a living person and ‘life force’, but towards narration. This tendency was most vividly reflected in N. Frye’s mythological theory (about literature as myth-making).
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Bondar, Igor А. "The new Scandinavian zoomorphic amulet with runic inscription, through the lense of ancient germanic mythological system of the world". Scandinavian Philology 19, nr 1 (2021): 198–213. http://dx.doi.org/10.21638/11701/spbu21.2021.112.
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The new rhombus-shaped cast amulet of the 10th century, made in the Borre style by means of the openwork metalworking technique, is a unique example of the Scandinavian jewelry tradition. The amulet originated from the region of the middle Dniester. The amulet and graffito are unique and they have no direct known analogies. This article is devoted to the study of semiotics and semantics of a zoomorphic pendant and elements of its image. The study carried out a structural-semantic analysis of the composition and individual elements of ornament through the paradigm of cosmological and cosmogonic representations of the ancient Germans. The work used the comparative method as well as a wide range of archaeological and literary sources. The picture stones and runic stones, Hogback stones, objects of material culture of the ancient Germans, results of comprehensive archaeological research, Old Norse songs about the gods and heroes of the “Younger Edda”, a set of Scandinavian sagas, Icelandic Viking sagas about Old Rus’ and materials from written sources of the XI– XIII Centuries were examined in detail and compared. The novelty of the research lies not only in the uniqueness of the new early medieval Scandinavian amulet, but also in the comparison and study of the object through the lens of the literary heritage of German- Scandinavian mythology. This approach was first applied in the detailed study of the “Gnezdovo-type” pendants. The methodological approach of the research and the historical-typological and semantic-semiotic analysis led to a scientific interpretation of the depicted story of the amulet within the context of the ancient Germanic mythological system and cosmogony.
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Kuznetsov, I. V. "Mythology of Myth as the Foundation of Postmodern Culture". Bulletin of Kemerovo State University 24, nr 1 (11.04.2022): 42–49. http://dx.doi.org/10.21603/2078-8975-2022-24-1-42-49.
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The article questions the appropriateness of using the concept of myth in relation to the XX century culture. The term originated in the German Romantic philosophy and philology. The current use of the concept of myth is mostly connected with the irrational side of reality. The concept of neo-mythologism can be applied to the epoch of Modernism because it preserved a substantial understanding of the myth. Post Modernism, however, understood the myth in a formal way, as an expressive means. This understanding was adopted by semiology and structural anthropology. In the contemporary society, the so-called quasi-myths have become an effective tool of controlling mass consciousness. Unsubstantial quasimyths tend to merge into a simulacrum of the mythology of myth. The article describes this simulacrum and reveals that neo-mythologism as a substance-oriented mentality is not peculiar to Post Modernism. Philologically speaking, today’s myth concerns the key issue of historical poetics, i.e. the relationship between tradition and creativity, where individual creativity is a statement of tradition and national myth. This article was originally published in English as a monograph chapter: Kuznetsov I. V. Mythology of Myth in Twentieth-Century Culture. Philological sciences: Modern scholarly discussions. LvivToruń: Liha-Pres, 2019. P. 64–78.
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Fedyukova, Olga V. "Mythology in literary work (on the example of analysis of German Romantics’ works)". Sibirskiy filologicheskiy zhurnal, nr 4 (1.12.2006): 27–31. http://dx.doi.org/10.17223/18137083/17/6.
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Madarasz, J. "Book Review: Building the East German Myth--Historical Mythology and Youth Propaganda in the German Democratic Republic, 1945-1989". German History 18, nr 4 (1.10.2000): 547–48. http://dx.doi.org/10.1177/026635540001800432.
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Hahn, H. J. "Venus versus Virgin: The Relationship between Classical and Christian Mythology in German Romantic Literature". Oxford German Studies 22, nr 1 (styczeń 1993): 111–33. http://dx.doi.org/10.1179/ogs.1993.22.1.111.
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Бучатская, Ю. "«Произошли от вендов»: мифологема славянства в истории одного немецкого городского сообщества (“They Are of Slavic Origin”: The Slavic Mythologem in the History of One German Urban Community)". Вестник антропологии (Herald of Anthropology), nr 2023 №3 (10.09.2023): 229–47. http://dx.doi.org/10.33876/2311-0546/2023-3/229-247.
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Историография взаимодействий вендов и германцев/немцев в Средневековье имеет богатую традицию и сложна прежде всего тем, что эта история отстоит далеко во времени от изучающих ее. Северная Бавария была одним из регионов в современной Германии, в котором в средние века проживали племена славян-вендов. В статье на примере истории обращения со славянской мифологемой применительно к франконскому городу Бамберг показано, как инструментализировался факт славянского прошлого территории в ХХ в. и как современные представители одной обособленной профессиональной группы этого города пользуются им для выстраивания границ своей группы. В конце XX – начале XXI вв. «славянскость» Бамберга, как и других бывших славянских территорий современной Германии, представляется воображаемыми вендами, известными нам только из письменных источников, фрагментарных находок археологов, фольклора, научных построений и интерпретаций разных эпох. Даже после смены парадигмы исторической и этнологической дисциплин венды продолжают оставаться частью социальной памяти Бамберга, хотя и в границах всего одной, небольшой по численности профессиональной группы городских овощеводов. Наряду с собственно образом вендов в городскую коллективную память оказались включены перипетии исторических интерпретаций вендского прошлого как результат трансфера научного знания через политику и пропаганду в массовую культуру. The historiography of interactions between Slavs and Germans in the Middle Ages is enormous and complicated, first of all because this period is far distant in time from those who study it. Northern Bavaria was one of the German regions where Slavic tribes in the Middle Ages lived. On the example of one Slavic mythologeme in relation to the Franconian city of Bamberg, I sought to show how the Slavic past of the territory was instrumentalized in 20th century and how members of one specific professional group in Bamberg use it to construct boundaries around their group. In the late 20th – early 21st centuries, the “Slavicity” of Bamberg like other former Slavic territories of modern Germany seems to be manifested in the “imagined Slavs”, known only from written sources, fragmentary archeological finds, folklore, scientific constructions and interpretations from different historical ages. Even after the paradigm change in historical and ethnological disciplines, the ancient Slavs remain a part of Bamberg's social memory within the boundaries of a small professional group. Together with the very image of Slavs, the urban collective memory includes the vicissitudes of historical interpretations of the Slavic past as a result of the transfer of scientific knowledge into popular culture through politics and propaganda.
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Sarbash, Lyudmila N. "Non-Russian Mythology and Folklore in the Volga Travelogue of the 19th Century". Imagologiya i komparativistika, nr 15 (2021): 140–55. http://dx.doi.org/10.17223/24099554/15/8.
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The Volga Travelogue is a large layer of travel essays in the 19th-century Russian literature. This layer has not become a subject of special research in literature studies. The “journey along the Volga” is distinguished by the wide diversity of issues and themes it discusses: the economic and industrial activities of the region, its cultural and historical sights, the uniqueness of the Volga region in an ethnographic perspective – of the multifaceted “Volga region resident”. One of the structural components of the travelogue is the Volga mythology and folklore: historical-geographical and cultural-ethnic information is supplemented with legends of the ancient Volga, Russian and non- Russian (Tatar, Mordovian, German, Kalmyk) legends. Describing the “non-Russian Volga”, writers refer to the national aspects of the life of different nationalities, the most important archetypes of their consciousness. A characteristic feature of N.P. Bogolyubov’s travelogue The Volga from Tver to Astrakhan is the non-Russian word as a marker of cultural identity: it is invariably present in the description of national customs. Telling about the “Mordovian places” of the Volga region, Bogolyubov describes specific rituals associated with the birth of a baby and with burials. The Muslim as a different national and cultural tradition of the Volga region particularly attracts writers’ attention. M.I. Nevzorov, in his Journey to Kazan, Vyatka and Orenburg in 1800, tells about the spiritual and religious experience of the Tatar people: writes about the ontological constants, acquaints the reader with epigraphic culture representing Muslims’ existential ideas about people and the universe. S. Monastyrsky, in his Illustrated companion along the Volga, presents Tatar legends about the winged snake Jilantau, about the “Black Chamber” and the khan’s daughter. These legends express the religious and poetic ideas of the people. Telling about the local cultural and mythological tradition is a characteristic feature of the Russian travelogue: an autochthon is represented by its ethnocultural identity. Folklore material functions in structural parallels – multilingual sources: V.I. Nemirovich-Danchenko, in his travelogue The Great River: Pictures from the Life and Nature on the Volga, gives two – Russian and Mordovian – versions of the legend about “Polonyanka”, and notes the particular poetry of the non-Russian text. In the combination of various – Tatar, Russian, Kalmyk – cultural and national constants of the lower Volga. German characterology is particularly expressed. A German legend associated with biblical material about the history of the prophet Elijah’s wandering through the desert to Sarepta of Sidon is fixed in the travelogues of Ya.P. Kuchin, S. Monastyrsky, and A.P. Valueva. The legend conveys the historical “memory of the place” – the foundation of the Sarepta colony. In the travelogues of V. Sidorov, N. Bogolyubov, descriptions of Buddhist Kalmyks, with their way of life, khuruls and gelyungs, are supplemented with Kalmyk legends about the Bogdo-Ola mountain. Folklore and mythology as categories of a non-native cultural text complicate the artistic system of the travelogue and contribute to the poetic comprehension of the poly-ethnic and poly-confessional Volga region.
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Geroulanos, Stefanos, i Jamie Phillips. "Eurasianism versus IndoGermanism: Linguistics and mythology in the 1930s’ controversies over European prehistory". History of Science 56, nr 3 (25.06.2018): 343–78. http://dx.doi.org/10.1177/0073275318776422.
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In 1935, the Russian linguist Prince Nicolai S. Trubetskoi and the French mythologist Georges Dumézil engaged in a vicious debate over a seemingly obscure subject: the structure of Northwest Caucasian languages. Based on unknown archival material in French, German, and Russian, this essay uses the debate as a pathway into the 1930s scientific and political stakes of IndoEuropeanism – the belief that European cultures emerged through the spread of a single IndoEuropean people out of a single “motherland.” Each of the two authors held strong commitments to visions of European order and its origins – in “Eurasia” for Trubetskoi and a Northern European Heimat for Dumézil. The North Caucasus, long a privileged site for Russian and European scholars, now became key to the renegotiation of the origins and reach of imagined prehistoric IndoEuropean conquerors, but also the 1930s’ debate over the value of different disciplines (linguistics, mythology, archaeology, folklore studies) for the origins of language, myth, and the European deep past. As a moment in the history of modern speculations about prehistory, pursued in the shadow of Nazi scholarship, the debate transformed fields of research – notably linguistics, comparative mythology, and structuralism – and the assumptions about the shape of Europe.