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1
Hamou, Malak Ben. "Jean Genet devant le miroir de la destruction de l’identité." e-Scripta Romanica 9 (December 20, 2021): 122–34. http://dx.doi.org/10.18778/2392-0718.09.10.
Анотація:
La vie et l’oeuvre de l’auteur français Jean Genet ont toujours été une quête de l’oeuvre d’art absolue. Dans cette quête, trois figures majeures le guideront : le sculpteur Giacometti, le peintre Rembrandt et le funambule Abdellah Bentaga. À travers les oeuvres de ces artistes, Genet découvrira l’identité absolue. Qu’est-ce qui le mena vers cette découverte et quelles conséquences eurent-elles sur l’écrivain ? C’est ce rapport à l’Autre, analysé dans les quatre textes que Genet a écrit sur ces artistes, que nous nous proposons d’interroger dans cet article, notamment à travers le mythe de Narcisse.
2
Boudreau, Raoul. "La création de Moncton comme « capitale culturelle » dans l’oeuvre de Gérald Leblanc." Revue de l'Université de Moncton 38, no. 1 (July 9, 2008): 33–56. http://dx.doi.org/10.7202/018403ar.
Анотація:
Résumé Un des legs important de l’oeuvre de Gérald Leblanc est d’avoir créé le mythe très improbable de Moncton comme capitale culturelle de l’Acadie. Il y parvient en utilisant des stratégies éprouvées ailleurs, comme l’intégration à son oeuvre d’un récit sur Moncton comme centre fébrile de création artistique et la mise en scène des oppositions parallèles tradition/modernité et ruralité/urbanité. Les handicaps de Moncton à une vocation culturelle en langue française deviennent pour Leblanc des stimulants qui relancent son écriture. La construction symbolique de Leblanc autour de Moncton s’avère très efficace dans le cercle des artistes acadiens et de leur public qui adhèrent à la croyance au mythe et en font une réalité. Au delà de l’Acadie, le pouvoir du mythe est plus aléatoire et si certains y adhèrent, d’autres soulignent le décalage entre le Moncton rêvé par Leblanc et la réalité.
3
Hanquinet, Laurie. "Quand les discours s’entrecroisent : « Sauvons le Montmartre bruxellois ! »." Sociologie et sociétés 43, no. 1 (May 25, 2011): 305–26. http://dx.doi.org/10.7202/1003541ar.
Анотація:
En 2003, la dernière cité d’artistes bruxelloise, les Ateliers Mommen, était menacée par des promoteurs immobiliers. Cette affaire reçut une grande attention de la presse qui soutint véritablement les occupants. Comment expliquer un tel appui à des victimes de spéculation, comme il y en a d’autres ? Et pourquoi, malgré de nombreux arguments communs, les médias ne diffusèrent-ils pas les revendications des artistes autour de leurs droits ? L’article démontre, par l’analyse des discours de la presse et des artistes, que la sauvegarde des ateliers dépendit de leur pouvoir évocateur, renvoyant au mythe de l’artiste bohème. Les médias choisirent un « monde de justifications » basé sur « l’inspiration », qu’ils opposèrent au « monde marchand » des promoteurs (Boltanski et Thévenot, 1991). Cette grille de lecture ne laissa pas de place aux justifications civiques propres à la menace immobilière (déstructuration du tissu urbain) et aux droits des artistes (conditions de travail adaptées).
4
Guédron, Martial. "Excusez du peu ! Notes sur la réception de la « Pietà Rondanini » de Michel-Ange." Circulations et transferts : France, Italie, Méditerranée…, no. 1 (October 18, 2022): 45–54. http://dx.doi.org/10.57086/sources.462.
Анотація:
Excusez du peu ! Notes sur la réception de la « Pietà Rondanini » de Michel-Ange – Un mythe fort répandu dans les discours et les écrits sur l’art voudrait que, parvenus à un âge avancé, les grands artistes se libèrent des contraintes traditionnelles et trouvent dans leurs ultimes compositions une liberté d’exécution qui s’offre à nous comme un supplément d’âme. L’histoire de la réception critique de la Pietà Rondanini de Michel-Ange en livre une illustration saisissante, bien qu’on ne sache pas toujours où cette œuvre se situe exactement, entre apothéose et sénilité. Car un tel mythe pourrait aussi servir à présenter sous une forme séduisante un spectacle bien démoralisant, celui de la décrépitude des créateurs d’exception.
5
Villeneuve, Lynda. "Mythe et vécu territorial : Charlevoix à travers l’art du paysage au XIXe siècle." Cahiers de géographie du Québec 40, no. 111 (April 12, 2005): 341–62. http://dx.doi.org/10.7202/022586ar.
Анотація:
Les représentations du paysage charlevoisien au cours du XIX e siècle font une large place aux normes dictées par l'art du paysage européen, britannique en particulier. Le mouvement esthétique romantique interpréta les signes du paysage charlevoisien en référence à une idéologie agriculturiste et anti-urbaine présente à partir de la décennie 1840 en particulier. Le paysage fut intégré à l'idéologie nationale canadienne dans la seconde moitié du XIXe siècle par les artistes torontois qui recherchaient, à cette époque, l'authenticité des paysages ruraux du Canada. Le paysage charlevoisien fut alors représenté comme un paysage rural authentique du Canada français, ayant su préserver la beauté de son milieu naturel et le mode de vie typique de ses habitants. Ces représentations picturales, en raison des idéologies conservatrices qui les sous-tendent, accordaient peu d'importance au vécu territorial d'une région en mutation rapide au cours de la période 1831-1871, sous l'impulsion de la nouvelle économie urbaine industrielle.
6
Robineau, Anne. "La scène musicale anglo-québécoise : institutionnalisation, mutations et représentations." Recherche 55, no. 3 (February 2, 2015): 559–81. http://dx.doi.org/10.7202/1028379ar.
Анотація:
Cet article interroge le lien entre la plus grande reconnaissance attribuée à une partie de la scène musicale anglo-québécoise et le développement d’institutions et d’organismes artistiques et culturels anglophones au Québec. Certaines représentations sociales quant au mythe des deux solitudes tendent à se reproduire dans le monde des arts, mais à se transformer aussi dans le cas de coproductions franco et anglo-québécoises qui attirent un public nouveau, encore mal circonscrit, un public bilingue et principalement montréalais. Nous abordons ce sujet en traitant de l’identité anglo-québécoise et de son rapport à la culture, en décrivant plusieurs aspects de l’institutionnalisation et de la professionnalisation des artistes anglophones du Québec depuis les années 1960, puis en tentant d’identifier les mutations récentes de la scène musicale anglo-montréalaise en abordant la question de la relève et de la diversité culturelle.
7
Tirel, Magali. "Klossowski: de la “cervitude” de l’art à l’esthétique du singe." Figures de l'Art. Revue d'études esthétiques 8, no. 1 (2004): 257–77. http://dx.doi.org/10.3406/fdart.2004.1348.
Анотація:
Si le mythe de Diane et Actéon a inspiré abondamment les artistes de toutes les époques, c’est parce qu’il nous invite tant à une réflexion sur les rapports que l’homme entretient avec les formes animales et les forces divines, qu’à une réflexion sur les limites du regard (c’est-à-dire sur les limites de la connaissance) et des langages (c’est-à-dire de la représentation et de la transmission). Mais vu par Klossowski, le parcours d’Actéon devient l’histoire d’une errance aux limites de l’identité, qui nous emmène dans le lieu sans lieu du désir où l’artiste qui tient à divulguer ce qu’il a vu à ses contemporains trouve un moyen de sortir de l’aporie (“voir et ne pas pouvoir dire”), c’est-à-dire renie sa “cervitude” pour rejoindre les joies de la simulation par le simulacre, dans une esthétique du singe.
8
Alba Pagán, Ester, and Aneta Vasileva Ivanova. "Du côté de chez la nomade. La femme gitane : mythe, photographie et auto(re)présentation." HYBRIDA, no. 1 (December 3, 2020): 129. http://dx.doi.org/10.7203/hybrida.1.16871.
Анотація:
L’article reflet une longue recherche sur la représentation sociale des gitanas (o romi espagnoles). L’un de nos outils d’analyse est la photographie dans le cadre de ses relations avec le régime de la politique visuelle préétablie. Dans ce cas, nous enquêtons sur la manière de construire l’image de l’Altérité faite par des artistes français qui ont visité l’Espagne plus ou moins impliqués dans le paradigme exotique. Plus tard, quelques tendances plastiques plus expérimentales ont essayé d’autres types de regard, non sans des difficultés. Le deuxième paramètre que nous avons utilisé était la réponse auto-représentative des femmes gitanes contemporaines. Nous avons développé et mené une série d’entretiens avec des représentantes de diverses organisations romani en Espagne (Valence). Il s’agit de femmes engagées dans la revisón critique de nombreux déterminants de leur vie. Leur réponses au sujet des deux fondements de la représentation, le langage et l’image, nous ont apportées une aide inestimable et de nombreuses surprises.
9
Urrutiaguer, Daniel. "Les visions d’un théâtre populaire à Aubervilliers sous les directions de Gabriel Garran et de Didier Bezace." L’Annuaire théâtral, no. 49 (June 7, 2012): 93–111. http://dx.doi.org/10.7202/1009304ar.
Анотація:
Le théâtre de la Commune d’Aubervilliers a été le premier théâtre permanent de la banlieue rouge sans un soutien initial de l’État. Jack Ralite a appuyé son fondateur, Gabriel Garran, de 1960 à 1984 et demandé la nomination de Didier Bezace en 1997. Les deux metteurs en scène se reconnaissent une relation de filiation dans leurs références à un théâtre populaire émancipateur, centré sur les auteurs vivants. L’article présente et interroge les conditions de la mise en oeuvre de ce projet dans deux contextes sociétaux différents. Les dispositifs de mise en relation des artistes avec la population locale requièrent dans les deux cas le déploiement d’énergie militante pour décentraliser l’action culturelle dans la ville, ainsi qu’une diversification de la programmation. La désindustrialisation a affaibli les relais d’information dans les entreprises et aggravé la précarité économique. Le mythe de la conscience de classe des ouvriers est aujourd’hui encore plus décalé dans une ville au caractère multiethnique accentué.
10
De Carvalho, Anithe. "Fin du mythe de l’art underground anti-institutionnel : L’utopie de la démocratie culturelle et l’environnement labyrinthe Vive la rue Saint-Denis ! (1971)." Revue internationale animation, territoires et pratiques socioculturelles, no. 5 (December 11, 2013): 73–88. http://dx.doi.org/10.55765/atps.i5.241.
Анотація:
Cet article défend la thèse que l’underground artistique des années 1970 a été intégré à l’establishment à l’aube d’une nouvelle idéologie culturelle, la démocratie culturelle, qui s’adresse à un nouveau public. La mise en place de programmes comme Perspectives Jeunesse, Initiatives locales et Explorations a permis de financer des projets comme Vive la rue Saint-Denis ! De nouveaux publics sont rejoints avec des événements socioculturels. C’est l’ère de l’animation culturelle, si prisée par un milieu précis du champ de l’art ayant pour porte-parole Yves Robillard, membre de Fusion des arts inc. Au lendemain de la crise d’Octobre, il s’agit d’intégrer au système socioéconomique une jeunesse contre-culturelle, indépendantiste (au Québec), marxiste et au chômage. En somme, les artistes de la contre-culture ou de la néo-avant-garde artistique politisée étudiés partagent avec l’État un ensemble de valeurs humanistes et d’intérêts professionnels, caractéristiques de l’État-providence, même si leurs buts ne sont pas forcément les mêmes.
11
Tanzharikova, A., D. Satemirova, and B. Kelgembayeva. "ARTISTIC FUNCTION OF MYTH IS IN KAZAKH PROSE." BULLETIN Series of Philological Sciences 72, no. 2 (June 30, 2020): 368–73. http://dx.doi.org/10.51889/2020-2.1728-7804.57.
Анотація:
The use of the myth in modern Kazakh prose in different senses is of interest to the reader. This allows us to determine how the authors' attitudes towards different literary trends are conveyed in the choice of basic myths to reflect the ideas presented in the myth. Using myths, the author enters into a dialogue with several traditions, and secondly, reinterprets a well-known mythological plot, creates his own image, as a result of which the narrative becomes a myth. The protagonist's mythological worldview is characterized by a special perception of time and space. This scientific article analyzes the features of the use of folk myths in Kazakh prose and identifies their artistic function.The prerequisites for renewed interest in myth in Kazakh prose at the end of the 20th century are being clarified. The relationship of mythological traditions and new literary trends in Kazakh prose is considered. The artistic function of myth is determined in the image of real life through mythological models and images.
12
Scarpaci, Joseph L., Eloise Coupey, and Sara Desvernine Reed. "Artists as cultural icons: the icon myth transfer effect as a heuristic for cultural branding." Journal of Product & Brand Management 27, no. 3 (May 14, 2018): 320–33. http://dx.doi.org/10.1108/jpbm-02-2017-1416.
Анотація:
Purpose Communicating the national values of artists and the role of product benefits as symbols of national values, infuse iconic national brands. This paper aims to validate a conceptual framework that offers empirical insights for cultural identity that drives brand management. Design/methodology/approach Case studies and cross-cultural focus group research establish the present study’s conceptual framework for cultural branding. Findings Brand awareness of a perfume named after a Cuban dancer and a spirit named for a Chilean poet, reflect authentic emblems of national identity. Informants’ behavior confirms the study’s model of icon myth transfer effect as a heuristic for cultural branding with clear, detailed and unprompted references to the myths and brands behind these heroines. Research limitations/implications The study’s ethnography shows how artists reflect myth and folklore in iconic brands. Future research should assess whether the icon myth transfer effect as a heuristic for cultural branding occurs with cultural icons beyond the arts and transcends national boundaries. Practical implications The study challenges conventional branding, where the brand is the myth, and the myth reflects the myth market. The authors show how the myth connects to a national identity yet exists independently of the brand. The branding strategy ties the brand to the existing myth, an alternative route for cultural branding mediated by the icon myth transfer effect. Social implications These two Latin American brands provide a much-needed connection among the branding literatures and images surrounding gender and nationalism in lesser-known markets. Originality/value Most research explores iconic myths, brands and folklore in one country. This study extends cultural branding through social history and by testing a conceptual model that establishes how myths embody nation-specific values. Iconic myths are a heuristic for understanding and describing brands, revealing an unexamined path for cultural branding.
13
Ghasemi Rozveh, Nasser, and Aida Danaye. "Sindbad Myth in the Poem by Khalil Hawi." International Letters of Social and Humanistic Sciences 64 (November 2015): 150–61. http://dx.doi.org/10.18052/www.scipress.com/ilshs.64.150.
Анотація:
Extensive use of mystery and myth as a means of expression is one of the most eminent artistic phenomena at new poetry experiences. The reflection of myths in poetry, is the most beautiful and artistic application of mythmaking. With reflection of myths, the mythological world became the parade ground for poet`s imagination and creation and also for mythmaker writer, so it can link past and present, and by this way shows social and political deductions and perceptions for readers, and fulfills human art and cultural needs. Also, Arab current poets used of Arabic and even other old nation`s myths, and expressed their thoughts and ideas by using these myths with respect to environment and circumstances. This paper aims to study the most dominant myths in Khalil Hawie`s poems, beside defining idiomatic and lexical of myth.
14
Aguirre, Mercedes. "Classical Myths and American Abstract Expressionism: The Case of William Baziotes." Collectanea Philologica, no. 19 (December 30, 2016): 97–104. http://dx.doi.org/10.18778/1733-0319.19.08.
Анотація:
Abstract Expressionism can be seen as a valid expression of the crisis of ‘Modern Man’ and, as a result, it assumed a central role in the cultural debate of its time. Within this crisis can be situated a new form of representing the ancient myths. William Baziotes, an artist who belongs to the New York School, becomes a modern ‘myth-maker’ who creates metaphors and symbols which refer to primitive cultures and primeval worlds. If a few of his paintings allude in their title to a particular Classical myth, others, without a specific title referring to a myth, have strong affinities with mythology. Classical myths seem to be entwined with the artist’s own personal myths, interpreted through his own language and his own symbols.
15
Gauzer, Irina V., and Evgeny A. Ermolin. "MYTHOPOETICAL IMAGE OF GENIUS ARTIST IN K. BALMONT’S ARTISTIC EXPERIENCE: RECEPTION OF SPANISH ARTISTRY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 12–21. http://dx.doi.org/10.17223/22220836/39/2.
Анотація:
The Russian culture of the turn of the XX century is characterized by actualization of the prob-lems of intercultural dialogue. Thus, the analysis of the Silver age is impossible without considering the fact of such a dialogue as a cultural phenomenon. The problem of hispanism reception is considered in the aspect of creative genius in K. Bal-mont’s works. In the context of Balmont's symbolism, it is important to take into account his specific conceptualization of the artist's status and interpretation of creativity as dreaming. The task of the re-search is to study the implementation of this mental usus within the Spanish theme, the discourse of the painter as a genius-overman by Balmont, and the existentials of the poet's spiritual experience correlated with it. Spain by Balmont is primarily a country of great artists. He creates portraits-myths of the great Spaniards, almost overmen for him. In the article “Poetry of horror” Balmont calls Goya's “a poet-symbolist in painting”, and relates his genius with other representatives of world culture: Poe, Bosch, Teniers etc. Spanish artist is de-clared a predictor of a new art. Goya in Balmont’s interpretation is an actual genius-creator, artist of borderline, mystical experience. Goya’s grotesques are interpreted as a breakout to otherness. Artist's chimeras scare with credibility and live. Goya created an infernal world with the character of universality. Balmont calls “Capricious” a theodicy, as this hymn to the aesthetics of ugliness justifies the existence of evil. The poet highlights in Goya’s aesthetics something close to the era of the early ХХ century. Cultural fashion finds its source and consonance in Spaniard’s drawing (mysticism of terrible, “attraction” to demonism, themes of disease, suffering and dreams). Also, the great painter in the poet’s interpretation is a dreamer reflecting his prophetic dreams on canvas. If Goya’s dreams are marked by a dark, night element in the poet’s artistic metaphysics, the oneirism of Velasquez is marked as sunny. The artist’s mythological image is embodied in the rhyme “Velasquez”. Solar genius of Velasquez organically becomes one of the main figures in the artistic metaphysics of Balmont's poetic collection “Let's be like the Sun”. The last limit of the volitional effort called for in the title of the collection is specified with Velasquez’s image. By binary logic a dark genius should confront Velasquez-Sun. In the book this role is assigned to the painter José de Ribera, Goya’s analog in the context of Balmont’s works. A mythological image was created with reference to the stockpile of ancient myths, the antithesis of Prometheus and Epimetheus. Entering into a dialogue with the culture of Spain and creating myths of Spanish artists, Balmont was looking for a reflection of himself in the Spaniards. Regarding their heroes as the dreamers, he oneirically dreamed about the essence of the Spanish genius basing on his travel impressions but trusting much more his mythic-creative speculation and accentuating the central existentials of his experience.
16
Alessandra Campoli. "Art, Myth and Memory." VISUAL REVIEW. International Visual Culture Review 7, no. 2 (December 23, 2020): 199–206. http://dx.doi.org/10.37467/gka-revvisual.v7.2647.
Анотація:
This paper aims at investigating the relationship between collective and cultural memory, myth, and contemporary art practice. Artists in the past have relied on the power of myth to visually speak to their audience, re-presenting myths in an illusionistic way. Today art is not conventionally telling stories anymore and is disentangled from the need for mimesis. How has the relation between art and myth changed outside the framework of representational art? Is the connection between myth and collective and cultural memory used in contemporary art practice? How do art and myth intersect today?
17
Kozakowska-Zaucha, Urszula. "Jacek Malczewski’s picturesque story." Trimarium 1, no. 1 (April 24, 2023): 360–71. http://dx.doi.org/10.55159/tri.2023.0101.15.
Анотація:
Jacek Malczewski was a painter who, in his monumental artistic output, left works revolving around the problems of homeland, freedom and lost identity, life and death, spanning between romantic visions and metaphysics. He was inspired by the art of antiquity, Polish Romanticism, but also tapped into folklore, complicating the meaning of his paintings with symbolism that was not always easy to understand. It was a multi-layered oeuvre, a testament to his great erudition, but also to the imagination and sensitivity of a refined humanist. In his paintings, he also asked about the essence of being an artist, the artist’s responsibility, and was interested in the problem of whether artists are really only masters of themselves, or whether they have a responsibility for the artistic tasks they take on. During the seventy-five years of the artist’s life, the history of Europe and Poland changed profoundly. His creative personality was mainly influenced by Poland’s loss of independence which entailed an identity crisis. Throughout his artistic path, Malczewski subscribed to the inherent mission of art to build national identity through creative exploration of various myths. He illustrated the dream of freedom and independence, showed the suffering of the nation and its sacrifice, and recalled the idea of the homeland which was to be both a homeland, a home, but also the foundation of national culture.
18
Rakhmanov, Bakhodir Mamajanovich. "The Genres Of Myth, Legend And Narration’s Historical Destiny." American Journal of Social Science and Education Innovations 02, no. 11 (November 28, 2020): 301–8. http://dx.doi.org/10.37547/tajssei/volume02issue11-51.
Анотація:
The article analyzes the current state and functional features of the genres of myth, legend and narrative in post folklore. Small genres of folk oral epic creation, such as myths, legends, and narratives, serve the function of providing artistic information to the listener. They do not have a special artistic form. In addition, these genres have a broad mass performance character and do not have special performers. Because myths, legends, and narratives are dominated by exaggerated fiction, exaggerated interpretation, real reality does not fit their imaginative capabilities.
19
Mevorah, Vera, Jelena Guga, and Cedomir Markov. "Divine genius, subversive hero, or creative entrepreneur? Exploring various facets of the artist as a mythical figure." Bulletin de l'Institut etnographique 71, no. 1 (2023): 99–121. http://dx.doi.org/10.2298/gei2301099m.
Анотація:
People have always related art to the creation and transmission of myths. While myth as a theme in art has been thoroughly addressed, research about the ?mythic? nature of the artist figure is far less common. The 20th and 21st centuries brought challenges to the status of art and artists in society, historically situated archetypes and stereotypes that we associate with the figure of the ?artist? still survive to this day (e.g. ?genius?, ?subversive artists?, ?child prodigy?, ?eccentric?, etc.). In this paper, we set out to analyze various tropes used persistently to describe artists and explore how relevant the resulting myths are in (self) perceptions of Serbian contemporary artists. Our multidisciplinary approach to this topic combines a historical-theoretical and empirical perspective. Through historical research of the relevant literature, we described and mapped the key tropes of the (mythical) artist figure as it developed in Western culture. In the theoretical analysis we address the inseparability of digital culture with everyday life of people today, which we call postdigital. We explore how the transition into contemporaneity affects the determination of the ?artist-figure?, i.e., how it impacts the contemporary process of myth-making. Following our historical-theoretical analysis, we conducted five in-depth interviews with contemporary Serbian artists to understand better how relevant the artistmyth tropes are for their self-perception.
20
Arazmedovich, Keruenov Turganbay. "THE USE OF ANTHROPOLOGICAL MYTHS IN THE WORKS OF MAKTUMKULI AND BERDAKH." ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies 12, no. 2 (March 14, 2023): 36. http://dx.doi.org/10.58885/ijllis.v12i2.36.ka.
Анотація:
<p>This article discusses the synthesis of folklore and written literature, the use of anthropological myths in written literature and the issues of their artistic function in poetic works on the example of Maktymkuly and Berdak's education and the use of anthropological myths in poetry.</p><p><strong>Keywords</strong>: myth, written literature, folklore, fiction, classical literature, plot, image.</p>
21
Sevelsted, Rasmus. "Myth and Truth in Republic 2-3." PLATO JOURNAL 22 (October 25, 2021): 115–31. http://dx.doi.org/10.14195/2183-4105_22_9.
Анотація:
This paper argues that myth in Kallipolis is used to communicate philosophical truths, rather than distribute politically motivated falsehoods. It first considers the function of myth in the ideal artistic culture of Kallipolis (I), and the philosophical theology that informs it (II). On this basis, it is argued that the discussion of medicinal falsehoods at 382a-d is more focused on the truth-content of myth than usually assumed (III). The latter part of the paper (IV and V) explores the connection between this new understanding of myth in books 2-3 and the philosophical myths in the central books of the dialogue.
22
Hoving, Kirsten. "Joseph Cornell’s Cosmos: An Artist’s Modern Interpretations of Astronomical Myths." Culture and Cosmos 24, no. 0102 (October 2020): 57–68. http://dx.doi.org/10.46472/cc.1224.0211.
Анотація:
The American artist Joseph Cornell (1903–1972) devoted his career to making collages and box constructions touching on a dizzying assortment of personal interests, reflected in an eclectic array of materials. Among his wide ranging obsessions was the history of astronomy, especially myths of the constellations. Throughout his career, these stories provided the foundation for works that allude to modern advances in science, his own personal traumas, and popular culture. For instance, he employed the story of Andromeda to explore to new theories about the size and age of the universe; he labored for two decades on a Duchampian boite en valise devoted to his desire for an imaginary little girl astronomer named Berenice, embodied in the constellation Coma Berenices; upon the death of Marilyn Monroe he produced a commemorative assemblage with Custos Messium playing the part of a custodian to guard the deceased actress. Cornell's creative process offers a case study of the complex relations between myth and art, and the ways in which psychological myth theory can be applied to personalized reconfigurations of established tales of the stars.
23
Hassan, Zena D. Mohammed, and Dheyaa K. Nayel. "The Evolution of Female Characters From Antiquity to Modernity: An Examination of Marinna Carr's and Carol Lashof's Adaptations of Classical Mythology." Journal of Language Teaching and Research 15, no. 2 (March 1, 2024): 374–82. http://dx.doi.org/10.17507/jltr.1502.06.
Анотація:
Literature relies heavily on mythology. Myths are stories of deities, monsters or immortals which are transformed from one generation to the other. In addition to documenting the religious and cultural experiences of a specific community, myths also outline the consequent literary, artistic and dramatic customs. Some Greek myths have survived for thousands of years because they accurately depict historical events, cultural values, and trends. Among the most famous classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest known record was found in Theogony (700BC) by Hesiod (8 th-7th century BC). A later version of the Medusa myth was made by the Roman poet Ovid (43BC –17/18AD), in his “Metamorphoses” (3-8 AD). Then again, Medea is a tragedy produced in 431 BC by the Greek playwright Euripides(480–406BC) based on the myth of Jason and Medea. Both Medusa and Medea are among the most fascinating and complex female protagonists in Greek mythology which have captivated many writers and playwrights for ages. In the twentieth century, there were many adaptations of both mythological figures; among these adaptations were those made by contemporary American and Irish women playwrights like Carol Lashof (1956-) and Marinna Carr (1964-). This paper examines the myths of Medusa and Medea and analyses the ways these myths are borrowed, refashioned and exploited in Lashof’s Medusa’s Tale (1991) and Carr’s By the Bog of Cats (1998). Both playwrights explore hidden dimensions of the traditional myths, combining elements from the old and modern worlds.
24
Legret, Mathilde. "The Vocational Regime in Art: On Myths and Performativity." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 41–47. http://dx.doi.org/10.5617/jea.4886.
Анотація:
A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay analyzes the development and mythology behind the notion of 'vocation' within the art world, while using the case of the Viennese artist Ursula Hübner. It argues that it is not only art institutions and the society, but also artists themselves who are complicit in the reproduction and valorization of the myth of vocation in art.
25
ABDURAKHMONOV, Ibrakhim R. "INTERPRETATION OF MYTHOLOGICAL TOPICS IN THE FINE ART OF THE XX CENTURY." Art and Design: Social Science 02, no. 02 (May 1, 2022): 1–4. http://dx.doi.org/10.37547/ssa-v2-i2-01.
Анотація:
This article provides a comprehensive and systematic study of the evolution of the interpretation of mythological themes in the fine arts of Uzbekistan in the XX century, the dynamics of development of works on the theme in the works of artists in terms of the relationship of socio-political ideology to our artistic culture. New interpretations of myths, epics and folklore in modern painting over the past hundred years, the originality of works based on the creative thinking of artists, the dynamics of development, the influence of new and old artistic traditions on the development of art are comprehensively scientifically presented.
26
Oleksin, Danylo. "MYTHO-LOGIC IN NON-CLASSICAL HUMANITIES REFLECTIONS ON MYTH: METHODOLOGICAL ASPECT." UKRAINIAN CULTURAL STUDIES, no. 2 (13) (2023): 36–42. http://dx.doi.org/10.17721/ucs.2023.2(13).07.
Анотація:
Over the past century, a lot of conceptual reflections on myth have been accumulated; however, there has been no attempt to systematically objectify and catalog such investigations. The relevance of research can be divided into two loci: the general and the particular. The general relevance is based on the high level of entwinement of myth and its motifs within contemporary culture; the particular aspect is due to the need to objectify the 20th-century theories of myth and to define their general method (1), and to enrich cultural discourse with new works in the field of myth philosophy (2). The goal of the research is to overview the process of the emergence of myth science within the context of the late 19th-century re-mythologization as an ontological argument for cultural mythological research; to define mytho-logic as a synthetic method of non-classical interpretation of mythological material. Methods: comparative (in the analysis of 20th-century approaches to studying myth and defining the non-classical concept of myth). Objectives: to explore the components of myth science; to define the concept of re-mythologization; to argue for mytho-logic as a non-classical model for interpreting myth. Results: the components of myth science that represent a sum of non-classical approaches to studying "sacred narrative" (ritual, functional, sociological, psychoanalytic, structural, transcendental, and numinous approaches) have been investigated; the concept of re-mythologization as the actualization of myth as the object of scientific, philosophical, and artistic interest has been defined; the mytho-logic as a non-classical model of myth interpretation through its structure and logic has been justified. Conclusions: the study of myth has risen on the cognitive waves of the deep ocean of modern humanities to the heights of a problem-filled space of culture studies. Through this actualization, it has gained an interdisciplinary character and has become a dozens-of-definition concept that roams from realm to realm – just like the concept of "culture" itself. Principles of the mytho-logic can and should be expanded, as myth can be studied through any presented in myth science paths. This paradigm is not self-contained and provides variability and aspectuality in considering myth as a cultural universality, and thus is convenient and justified for use in the context of non-classical philosophy and contemporary cultural studies.
27
Bordenave, Ana. "Le recours au mythe pour un dépassement des représentations de genre. Mystère I : Hermaphrodite endormi/e (1982) de Klonaris et Thomadaki." Caietele Echinox 42 (June 30, 2022): 231–42. http://dx.doi.org/10.24193/cechinox.2022.42.16.
Анотація:
"Maria Klonaris and Katerina Thomadaki are Greek artists and art theorists, who make experimental film and multimedia art. With this article, I analyse the reinvestment of the mythical figure of Hermaphrodite, use to move beyond the binary of gender representation in the art installation Mystère I: Hermaphrodite endormi/e, created in 1982. With this study, I try to question the link between the mythical image, the artist’s images, and the social image of androgyny, and their impact on the choices of the artists."
28
Villiers, Celia De. "Contemporary Performance Art as a Hermeneutic Pathway to Transcendence and Healing." Art&Sensorium 1, no. 01 (May 8, 2014): 117–35. http://dx.doi.org/10.33871/23580437.2014.1.01.117-135.
Анотація:
The Romanian historian and philosopher Mircea Eliade suggested that the medicine man or shaman is a sick man who has managed to cure himself. Maintaining a so called "˜balanced' identity has become the constant feature of our ever-changing contemporary environment. Some contemporary socio-political events, and technological advances have given rise to traumatic emotional feelings of "˜thrown-ness' and being in situations beyond one's control. By appropriating and traversing traditional boundaries between contemporary performance art, ancient rites, shamanic action and myths the contemporary performance artists, Yugoslavian Marina Abramović, American Matthew Barney and the South African Steven Cohen face and challenge converging idiosyncrasies. During harrowing mytho-poetic public interventions they often set themselves up as scapegoats and shamans. Such mediation through the body as a cultural tool or code, seeks the transmission of personal convictions in an attempt at mirroring society for the sake of stimulating the re-consideration of conventional ethics and hegemonic attitudes. This hermeneutic search for hidden meaning and an interpretation of human existence beyond the superficial has become a resourceful construction for the selected performance artist's millennial mythologies. The aim of this paper is to ascertain how these tactics facilitate performance artist's encounter with the world. The artist's resourcefulness is contextualised in terms of the Neuro-theological theories of Michael Winkelman, a behavioural scientist from Arizona State University. He has discovered that innate brain processes are directly affected by certain shamanic practices. It concerns the stimulation of neurotransmitters and their responses to spirit concepts and how they influence and manipulate individual and group psycho-dynamics, which confirms Eliade's statement above.
29
Fonari, Victoria. "Fragmentation and the Tendency to Hybridize the Myth in The Artistic Literature." Acta Marisiensis. Philologia 4, no. 1 (September 1, 2022): 1–8. http://dx.doi.org/10.2478/amph-2022-0066.
Анотація:
Abstract The phenomenon of globalization becomes a component of the artistic literature. Writers felt the need to create their own universe based on recognizable symbols. This launch from inside an asteroid of ancient myth offers opportunities to climb Mount Olympus in his personal dissection. Thus, the authors are tempted to extract from myths fragments in which they can mirror their reality. The fragment holds in the work the part of the whole, similar to a starfish that reconstructs its body after a fragment. In the same way, the writer of our century creates his hybrid from the myth he cuts out in order to involve him in the situations of multiculturalism. Thus the ancient spirit is selected in the virtual test tube with all the perspectives of the dream game proper to the hologram of the intellectual character.
30
Ismailova, Gulbarchyn. "SOME PROBLEMS OF KYRGYZ TERMINOLOGY AND WAYS OF INTERPRETATION." Alatoo Academic Studies 2021, no. 4 (December 30, 2021): 129–35. http://dx.doi.org/10.17015/aas.2021.214.15.
Анотація:
The scientific article analyzes the genetic relationship between myth and fiction. The myth has always, to one degree or another, claimed the universality of the explanation of the world. Myth and verbal art, myth and artistic creation are genetic, for myth represents the fundamental principle of the spiritual culture of mankind. In ancient times, mythology was the main and main form of world perception and therefore possessed universalism and ideological syncretism. Due to the specifics of its genesis, the myth was not only a form of social consciousness, but also a kind of narrative model, the original form of literary literature, a treasure of poetic fantasy. There were conclusions that both classicists and romantics turned to the ancient myth, and writers - realists of different periods of the development of this method - also turned. The attitude of representatives of various systems to the myth was manifested in the depth of immersion in the myth, in the change in the plot structure, the figurative system of myths.
31
Ljøgodt, Knut. "‘Northern Gods in Marble’: the Romantic Rediscovery of Norse Mythology." Romantik: Journal for the Study of Romanticisms 1, no. 1 (December 1, 2012): 141. http://dx.doi.org/10.7146/rom.v1i1.15854.
Анотація:
The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century.
32
Aroshidze, Marine, and Nino Aroshidze. "The great social experiment: when dreams did not turn into reality." Balkanistic Forum 30, no. 3 (October 5, 2021): 314–28. http://dx.doi.org/10.37708/bf.swu.v30i3.18.
Анотація:
The great social experiment in building socialism, which was supposed to develop into communism, was based on a number of attractive political myths, for the creation of which a special symbolic universe was created, a wide range of various sign systems were involved, among which language played the most important role: as a means of creating a political myth and the means of its constant feeding (the myth-making function of the language). This allowed (in conjunction with other means of subjugating the totalitarian state) for a long period to manipulate the consciousness of the masses, educating the younger generation in the given ideological framework. However, being the most important means of creating myths, language at the same time has enormous potential for its destruction. An analysis of texts criticizing the political ideology prevailing in the Soviet empire allowed us to single out two main types of myth-destroying texts: 1) texts criticizing the existing order (anecdotes, caricatures, parodies, political fables, etc.) and 2) texts that destroy the “information vacuum» (photographic documents, archival documents, autobiographies, etc.). The artistic works of dissidents of socialist ideology (Vladimir Vysotsky, Nikolai Guberman, Alexander Solzhenitsyn, Mikhail Bulgakov, etc.), which often combined both functions, had a special appellative-influencing force. Analysis of the role of language in the creation of myth as a socio-cultural phenomenon on the example of the myths of the Soviet era in the context of modern globalization of knowledge and the interdisciplinary scientific paradigm demonstrated the semiotic mechanism of myth creation and the dynamics of their destruction.
33
Bulas, Ryszarda. "Wysokie krzyże irlandzkie i ich związki z mitologią (VIII-XII wiek)." Vox Patrum 44 (March 30, 2003): 143–54. http://dx.doi.org/10.31743/vp.8072.
Анотація:
The Celtic Crosses are an original phenomenon that unites in itself spiritual traditions of the East and artistic heritage of the West. The original basic shape of the idea is Indo-Iranian and it was close to Celtic mentality. Old myths were translated into a symbolic language of art. The particular feature of the Celtic Cross is the co-existence of Nature and Bible, Myth and Christology.
34
Friedrich, Michał. "„The bloodiest flower”. Myth of Medea According to Pier Paolo Pasolini." Tekstualia 1, no. 60 (May 5, 2020): 83–92. http://dx.doi.org/10.5604/01.3001.0014.1364.
Анотація:
The article discusses Pier Paolo Pasolini’s reinterpretation of the myth of Medea in his 1969 fi lm by placing it in a range of artistic contexts, primarily painting. It fi rst recounts the history of mythological sorceress from ancient Kolchida, known from Greek myths and Eurypides’s play. A number of artistic works dedicated to Medea are referred to, including Seneca’s tragedy, Lars von Trier’s movie, Christa Wolf’s novel, Victor Mottez’s and Thomas Satterwhite Noble’s paintings. The methodological framework is based on the work of critics such as Alicja Helman, Kinga Anna Gajda, Piotr Kletowski and Janusz Kossak.
35
Scarsbrook, Sarah. "Artists Shaping Policies Through Higher Art Education. How Visual Artists Develop Policies that Affect their Lives, Practices, and Careers." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (December 1, 2022): 175–92. http://dx.doi.org/10.14361/zkmm-2022-080209.
Анотація:
Abstract This paper centralises visual artists in policymaking processes. It foregrounds the ways artists influence and determine the policies that affect their lives, practices, and careers through their higher art education in London (UK) art schools between 1986-2016. The uninvited and indirect processes by which artists are shaping policies using their education is captured through artsbased/informed methods developed for listening, analysing, and interpreting alongside grounded theory methodology. The practitionerled approach is key to noticing and raising the subtle agitations in the actions and inactions that underscore artists’ role as policy progenitors. Artists’ relationships with professional development and their experiences of structureless pedagogies, which are aligned to artistic myth are foregrounded. Their acceptances, rejections, and reframing of their fine art curricula is where their influence in shaping policy sits.
36
Scarsbrook, Sarah. "Artists Shaping Policies Through Higher Art Education. How Visual Artists Develop Policies that Affect their Lives, Practices, and Careers." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (December 1, 2022): 175–92. http://dx.doi.org/10.14361/zkmm-2022-0208.
Анотація:
Abstract This paper centralises visual artists in policymaking processes. It foregrounds the ways artists influence and determine the policies that affect their lives, practices, and careers through their higher art education in London (UK) art schools between 1986-2016. The uninvited and indirect processes by which artists are shaping policies using their education is captured through artsbased/informed methods developed for listening, analysing, and interpreting alongside grounded theory methodology. The practitionerled approach is key to noticing and raising the subtle agitations in the actions and inactions that underscore artists’ role as policy progenitors. Artists’ relationships with professional development and their experiences of structureless pedagogies, which are aligned to artistic myth are foregrounded. Their acceptances, rejections, and reframing of their fine art curricula is where their influence in shaping policy sits.
37
Schipper, Mineke. "Creation Myths and the Visual Arts: An Ongoing Dialogue between Word and Image." Religion and the Arts 13, no. 4 (2009): 410–18. http://dx.doi.org/10.1163/107992609x12524941449840.
Анотація:
AbstractEven though in most arts faculties the verbal and the material arts are usually studied separately, they are closely connected in mutually clarifying ways. The various contributions to this issue demonstrate convincingly how relevant it is to study verbal and visual artistic expressions of creation myths in combination. In practical terms, the first step is to describe the connections and functions of the specific material and verbal genres concerned. African oral myths about the origin of black and white people and wooden sculptures referred to as colons are a case in point. The function of the myth was to explain the origin of racial difference and to answer the question why white people were wealthier and more powerful than black people. The sculptures served to re-appropriate the power and prestige lost to the colonizer in new ways. The example illustrates how the two artistic genres had different functions and played complementary roles in people's dealing with Europe's colonial presence in Africa.
38
V, Valarmathi. "Art myths in the epic." International Research Journal of Tamil 3, no. 1 (January 23, 2021): 158–65. http://dx.doi.org/10.34256/irjt21117.
Анотація:
Art is essentially the one which fantasizes by its aesthetics and provides pleasure through a newer perspective. Nature is the basis for any artistic creation and a creative artist composes literature based on his perseverance love for nature and intellectual vigor. The artist intensely feels that everyone should enjoy what he has enjoyed and this is the uniqueness of art. Myth is the originator of all the arts which came later and myth is employed as the interior focal matter around which the story of an epic nature revolves. We come to know that the ancient Tamilians knew the art of integrating and operating the myths to entertain and enlighten the society.
39
Gerschultz, Jessica. "Mutable Form and Materiality: Toward a Critical History of New Tapestry Networks." ARTMargins 5, no. 1 (February 2016): 3–29. http://dx.doi.org/10.1162/artm_a_00130.
Анотація:
This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry's deeper incongruities, which emanated from unresolved questions at the core of modernism: the assigning and appropriating of artistic identities, the evaded issue of state patronage, and the persistent ideological and aesthetic problem of craft and its framing within economies. By comparing three artists: Magdalena Abakanowicz, Jagoda Buic, and Safia Farhat, I reassess New Tapestry networks, myths, and systems of state and institutional support. The circulation of Abakanowicz, Buic, and Farhat around a conflux of dimensions signals a new pathway for recovering and writing a history of fiber art, and perhaps a reflection on modernism at large.
40
Slon'ovska, Olha. "Yevhen Malaniuk as a founder of the Ukrainian literary myth of the XX century." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 85–91. http://dx.doi.org/10.34079/2226-3055-2020-13-22-85-91.
Анотація:
Myths are regarded as the metaphysical engines of the national progress, a specific code-program for the state development, as a vector of the individual mission of an individual nation. In general, the ideological and political myths of national states are metaphorically derived primarily from their national anthems. The anthem is a kind of vaccine against assimilation and is effectively delivered to educate the younger generation in the spirit of civic consciousness. Decadent (frustration) myths destroy the national idea, vitaistic and consolidating myths inspire, compact and unite any nation. The National Anthem, as the primary literary formulation of the national idea, gives impetus to the constant creation by the writers of the myth of the state and the nation as a specific phenomenon at the artistic level. The literary myths of stateless peoples are always preceded by the emergence of their own ideological and political myths as well. Among the most talented passionaries of every «incomplete» nation, there must be a talented philosopher or politician who will be able to verbally formulate the idea of a new ideological-political myth, which will be based on a national idea. Similarly, in the nineteenth century the ideological-political myth for Ukrainians was «Law of God (Book of Being of the Ukrainian People)» by M. Kostomarov. It is natural that this philosophical and propaganda work had a great influence on Kobzar and led to the creation of the literary myth of Ukraine by our national poet-genius, T. Shevchenko. The beginning of the twentieth century for the Ukrainians was marked by the tragic fall of the young state of the UNR. The nation had to start all over again in order to endure. There was a need for a new ideological and political myth of Ukraine of the twentieth century. It was created by Ye. Malaniuk with his own essays about the most talented Ukrainian politicians, including B. Khmelnitskyi and I. Mazepa, as well as M. Hrushevskyi and S. Petliura. In his essays on the past of Ukraine Ye. Malaniuk not only wrote about biographies of bright historical figures, but above all analyzed Ukrainian national victories and tragedies, logically argued mistakes and losses of our nation’s leaders, considered the issues of «his» and «alien», determined a peculiar «doctrine», submitted in a wide typre of «enemy face» of the Ukrainian statehood. Ye. Malaniuk also analyzed the positive and negative features of the Ukrainian mentality, aptly raised the question of passion, foresighted the stages of becoming the future of Ukraine as a sovereign nation-state at the end of the twentieth century. On the basis of his own ideological and political myth, the poet started to create the literary consolidating myth of Ukraine. His initiative was taken by contemporaries of the artist – the most talented writers-modernists of the Ukrainian diaspora of the twentieth century. The concept of the literary myth of Ukraine has been considered by the researcher Olha Slon’ovska; the significant role played by Ye. Malaniuk as a poet and essay writer in creating the literary myth has been revealed.
41
Hannigan, Tim. "Beyond control: Orientalist tensions and the history of the “upas tree” myth." Journal of Commonwealth Literature 55, no. 2 (January 29, 2018): 173–89. http://dx.doi.org/10.1177/0021989418754345.
Анотація:
The “upas tree” is one of the most enduring European myths about Southeast Asia. Accounts of a tree so toxic that it renders the surrounding atmosphere deadly can first be identified in fourteenth-century journey narratives covering what is now Indonesia. But while most other such apocrypha vanished from later European accounts of the region, the upas myth remained prominent and in fact became progressively more elaborate and fantastical, culminating in a notorious hoax: the 1783 account of J. N. Foersch. This article examines the history of the development of the upas myth, and considers the divergent responses to Foersch’s hoax amongst scientists and colonial administrators on the one hand, and poets, playwrights, and artists on the other. In this it reveals a significant tension within the emerging “Orientalist” discourse about Southeast Asia in the early nineteenth century.
42
Altanova, A. "MYTHS IN THE POETIC WORLD OF LINA KOSTENKO: PROJECTIONS OF THE AESTHETIC IDEAL." Mìžnarodnij fìlologìčnij časopis 14, no. 1 (2023): 61–72. http://dx.doi.org/10.31548/philolog14(1).2023.07.
Анотація:
The article analyzes the intertextual connections of Lina Kostenko's work (in particular, her novels "Marusya Churai" and "Notes of the Ukrainian samashedshego", as well as individual poems) with world myths - ancient, biblical and literary. Such intertextuality gives rise to an artistic world where the individual and the collective, the human and the divine, the everyday-practical and the unspeakable-unexplainable, the national-historical and the eternal, the material and the spiritual, the rational and the irrational, interact. Allusive echoes of the texts of the Ukrainian poetess with the ancient Greek myths "Orpheus and Eurydice", "Hyacinthe", myth about the androgyne, biblical myths about St. John the Forerunner, Lilith and Eve, literary myths of Dante, M. Kotsyubynskyi are analyzed. All these myths are based on moral and philosophical maxims: love, creativity, immortality, beauty, responsibility, memory, integrity, compatibility of souls, dignity, spirituality, and chivalry, which are signs of the author's aesthetic ideal. The myth enriches her poetry with cultural codes that are most fully and adequately revealed only in the light of universal, not socio-historical or class criteria. It is proven that in the novel "Marusya Churai" Lina Kostenko created an alternative vision of the image of the poet, an important point of which was the position of "artist and love". Imitating Dante's myth about the journey through hell, Lina Kostenko in the novel "Marusya Churai" presents her vision of hell during her main female character's journey through war-torn Ukraine and sets her own priorities in matters of "sinfulness" and punishment of her characters. The article also examines the philosophy of androgynism interpreted in the poetess's work as a spiritual union of lovers and the poetess's attitude to the gender concepts of "strong man" and "strong woman". The interpretation of Lina Kostenko's work in a mythological way will contribute to the awareness of her universal sound, which is not subject to temporal and political changes.
43
Vasiljeva, Ekaterina V. "METHODS AND TECHNIQUES OF MYTHOLOGIZATION IN S. RUSHDIE’S NOVEL ‘THE GROUND BENEATH HER FEET’." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 73–82. http://dx.doi.org/10.17072/2073-6681-2021-1-73-82.
Анотація:
The study is devoted to the analysis of methods and techniques of mythologization in the novel The Ground Beneath Her Feet written by the British author of Indian origin S. Rushdie. The paper explores the narrative organization of the novel, in which images and motifs of ancient mythology are used as a special code for artistic interpretation of European culture of the second half of the 20th century. The article examines the artistic reality of the novel, which combines the modern history of rock culture and classical mythology of Ancient Greece. S. Rushdie addresses problems related to the nature of creativity using as the main plot-forming motifs such mythologemes as the love story of Orpheus and Eurydice, the myth of alldevouring Tartarus, twin myths. The study shows that a typical technique for creating expressive threedimensional multivocal images in Rushdie's novel is a combination of real facts from the world of rock culture and mythological allusions, intertwining, overlapping and collision of various motifs and plots of Greek mythology, which, taken all together, generates the original artistic reality. The article analyzes how the myth of Orpheus and Eurydice acquires a cultural dimension in the novel and what techniques are used by the author to activate the extensive cultural memory of the Orphic myth. The concentration and interpretation of iconic images and motifs of ancient mythology are used in the novel for artistic analysis of the state of culture in the second half of the 20th century and of its attempts to counter the catastrophic tendencies of destruction and death of the modern civilization.
44
Paek, Mihyun. "Exploring Generational Theory in Artists' Perception of Occupational Identity and Art Labor: for the second generation around the age of 40." Korean Society of Culture and Convergence 45, no. 3 (March 30, 2023): 305–24. http://dx.doi.org/10.33645/cnc.2023.03.45.03.305.
Анотація:
The purpose of this study is to explore the generational theory of artists' job identity and perception of artistic labor, and 16 artists around the age of 40 (30-59) were interviewed in-depth to interpret their perceptions. As a result of the study, no clear generational theory was confirmed around the age of 40. The same perception without generational differences is first, most of the participants consider the artist job to be an “incomplete” job that cannot be compensated for their livelihood, and hope to become a “full-time Artist” before they die. Second, they pursue the spirit of “spirit of freedom of pure creation” derived from the myth of poor genius artists. On the other hand, the perception of the artist welfare system showed a generation gap in “interest” and “experience” around the age of 44, and “in-generation conflict” before the age of 44 was confirmed in terms of “awareness.” In addition, 'side jobs to maintain artistic creativity' have now been promoted to names such as 'second jobs', and 'main jobs' alongside artist job.
45
Polishchuk, O. P. "TOPOS, ETHOS AND AESTHESIS OF NATIONAL-STATE MYTH IN MODERN CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2 (3) (2018): 38–43. http://dx.doi.org/10.17721/ucs.2018.2(3).07.
Анотація:
The article touches upon the issue of the need to study the phenomenon of “national-state myth” more intensively in the modern conditions of life of the society. The analysis of the national-state myth specifics is carried out not only as a kind of political myth, but firstly as a socio-cultural phenomenon. We assert that among the newest myths, which significantly affect the value orientations and life standards of each society, a special place is occupied exactly by the national-state myth. Such myth is called to form public opinion about the state as representative and defender of key nation’s interests and also culture differences. Such myth becomes especially popular in the crisis conditions of social processes in the state and its relationships with other countries. This myth is created in interests of those social strata, which occupied main positions in the management of the state. It is not necessary for such social strata to be the representatives of main nation in this society and its culture. A basic source of its promotion in society is an influence of mass communications on public consciousness in the process of symbolic production. Ethos of the“national-state myth” phenomenon in modern society is aimed at the formation of pride for nation and its culture, patriotism in the broad strata of society through an addressing to the historical events, special achievements of nation and so on. But interest to such myth and its popularity provide aesthetically beautiful moments during distribution of such social product in a symbolic exchange in modern society and its national culture. The research of the origins and functional features of "national-state myth" is realized, and they are compared to the origins and functional features of the classic, archaic myth. The specificity of these constructs of the ideal spiritual life in modern conditions is investigated, and the role of ethos and aesthesis of the “state’s art mythos” phenomenon is researched too. Also the article analyzes the formal and aesthetic aspects of the content of the information in such myth. To our opinion a modern national-state myth actually is an artistic myth on a form its presentation in facilities of mass communication. He uses facilities and possibilities of human artistic thought. Therefore modern cultural space which tested total influence of such myths appeared as a “place for a game senses and offenses” in the removal of contemporary from reality. We assert that it is liked to be a man not through insufficiency of knowledge, but because many modern people miss. Modern Europeans miss often, but yet presently they are often afraid of changes in their life through a crisis in society. Therefore such myth not only strengthens patriotism of citizens of country. Such myth creates the illusion of stability for them, gives them a confidence in itself and to the state. A modern man presently often has a desire to go from reality from its much by numeral problems in the idealizing world. Such myths give the alarmed people to calm down and enjoy life as spectacle in a theater or a circus. Myth of the “messiah calling of country” is analyzed as an example of state myth. Such myth once created terms, as ideological basis, for the representatives of one nation, to create a strong state. But in modern terms neglect to the people of other nations is drawn. It is therefore needed to mark that such myth becomes in modern terms a basis for the conflicts between different peoples. The question concerns propaganda of national exceptional nature from the side of any totalitarian states. Therefore such a myth creates terms for enmity between different nations and peoples, develops in man contempt to other people. We assert that national character of any modern nation appears in various aspects. E.g., attitude to the past, role of the country in civilization history, national historical myths, address to folk beliefs, ceremonies, and mysticism. Ethos of national-state myth not only speaks to the elements of national character of specific group of people, also causing changes in it. They are not always positive; vice versa such changes through growth of role of state myth for spiritual life of nation are a certificate of deep crisis in this society. The overstatement of the value for history of humanity conduces to inadequate and illusive perception of present life conditions of society. A man as a result of infatuation for such a myth becomes inadequate to estimate itself and other people. For his logic, acts or thoughts change. In fact, this is an a-logic. It is possible to say that under the action of such myth a man loses correct social standards of conduct. It is simply played, and a game is perceives as a real life. Keywords: Myth, ‘National-state Myth’, Ethos of Myth, Aesthesis of Myth, Symbol, Symbolic Production, Symbolic Exchange, Mass communications, Popular Culture.
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Vladimirova, Tatyana E. "Semantic Continuumof Myth." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 2 (December 15, 2020): 161–74. http://dx.doi.org/10.22363/2313-2299-2020-11-2-161-174.
Анотація:
Language, the first cultural phenomenon, received textual expression in myths, of which the oldest tell of the mystical relationship of the tribe with the animal. Consideration of the concepts that arose on this basis, and then of “conceptual myths” (OM Freidenberg) about the totem-ancestor makes it possible to analyze their semantic-semantic fields. Moreover, we relied on the cultural-historical concept of G.G. Shpet, which allowed us to trace the evolution and subsequent transformation of the semantic-semantic fields of myth and thus reveal the algorithm for the formation of the mythopoetic tradition, its fading and eternal return. In the center of this work is semantic-semantic fields of myths about the Heavenly deer / moose cow, the cult which stretched over the more than six millennia. Observing the astral objects that served as a spatial-temporal reference point in the hunting and reindeer herding, primitive tribes felt their unity with the star ancestors. For example, two constellations of seven stars, which served the primitive hunters and reindeer breeders as a guide on the way, began to be identified in the russian North with the horned Reindeer Mother / moose cow and her daughter, from which the well-being of people depends. The attempt of comparative-historical reconstruction of semantic-semantic fields in article based on the material of myths about totems-forefathers made it possible to distinguish three main layers. These are 1) the energetically “charged” field of the myth of the shaman visiting the fantastic deer in labor, in which the religious and mythological consciousness received expression; 2) a semantic-semantic field of myths that belong to the artistic and heroic consciousness and narrate about a cultural hero who is ready for a feat for his family-tribal community; 3) the semantic-semantic field of the myth of the Horned mother-deer in the story of Ch. T. Aitmatova’s “White Steamboat (After the Tale)”, the rescue of orphans who became the ancestors of the Bugu tribe (‘deer’), and contains deep thoughts of the author, the bearer of cultural-historical and philosophicalcultural consciousness. As for the semantic-semantic fields, specific to the various interpretations of plots about a moose cow and a calf, close to a household fairy tale, a hunting story and a joke, so they correspond to the scientific and technical type of consciousness that has lost its connection with myth.
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Ramón-Cardona, José, and María Dolores Sánchez-Fernández. "From Counterculture to Intangible Heritage and Tourism Supply: Artistic Expressions in Ibiza, Spain." Land 11, no. 1 (January 7, 2022): 98. http://dx.doi.org/10.3390/land11010098.
Анотація:
Until the beginning of the 20th century, Ibiza was rural, developmentally lagging, and separate from the modern world. These characteristics made it attractive as a refuge for European intellectuals and artists as soon as communications with the outside world began to develop. The first significant presence of artists occurred in the 1930s, just before the Spanish Civil War. After years of war and isolation, artists returned in a larger volume and variety than before. Other regions also had artistic and countercultural communities, but Ibiza decided to use them as an element of its tourist promotions, making the hippie movement a part of its culture and history and the most internationally known element. The objective of this paper is to expose the importance of art and artists, a direct inheritance of that time, in Ibizan promotion and tourism. The authorities and entrepreneurs of the island realized the media interest they received and the importance of this media impact on developing the tourism sector. The result was that they supported artistic avant-garde and various activities derived from the hippie movement to differentiate Ibiza and make it known in Spain and abroad, creating the myth of Ibiza as an island of freedom, harmony, and nightlife (the current image of the island).
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Rogova, E. N., and L. S. Yanitskiy. "Traditions of Magical Realism in M. Shishkin's <i>Letter Book</i> and N. Abgaryan's <i>Simon</i>." SibScript 25, no. 1 (March 16, 2023): 136–46. http://dx.doi.org/10.21603/sibscript-2023-25-1-136-146.
Анотація:
The article describes the traditions of magical realism in M. Shishkin's Letter Book and N. Abgaryan's Simon. The research involved comparative, mytho-poetic, hermeneutic, formal, and structural methods. V. I. Tyupa's theory of artistic discourse and F. Schlegel's idea of irony served as the basic theory in identifying the motifs associated with magical realism and generated by the ironic type of artistic completion. The term of magical realism covers works that belong to very different literary movements. The authors used the ironic type of aesthetic completion to explain similar elements in different poetics of magical realism fiction. The traditions of magical realism in the twentieth-century fiction revealed the following features: an ironic type of artistic integrity; dual worlds and miracles; fantasy intertwined with reality; myths, traditions, and legends; archetypes (father, savior, eternal lover, etc.) and symbols (tree, sea, etc.); unmotivated fantasy; fantastical timeline with no clear boundaries between the past and the future; a highly rhythmical pattern, etc.
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Laugrand, Frédéric, and Jarich Oosten. "Representing the “Sea Woman”." Religion and the Arts 13, no. 4 (2009): 477–95. http://dx.doi.org/10.1163/107992609x12524941450000.
Анотація:
AbstractThis paper examines the dynamics of the representation of the “sea woman,” sometimes known as Sedna, among the Inuit of Northeastern Canada in myths, shamanic experiences, and modern artistic representations. The varying representations of the sea women are connected to shamanic practice. The sea woman does not have a clearly defined iconography; this lack of definition gave shamans some flexibility in giving versions of encounters with the sea women, and enables Inuit artists to utilize that lack of iconographic specificity in creating their sculptures today.
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Yoon, Soyoung. "Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (September 1, 2021): 175–83. http://dx.doi.org/10.1215/02705346-9052914.
Анотація:
Abstract This essay attends to the force of aggression in Carolee Schneemann's work, emphasizing the conflicts in the artist's representation of enjoyment, knowledge, and truth in her own body, with a focus on Up To and Including Her Limits (1973–76) and the underexplored text “Anti-Demeter: The More I Give the More You Steal” (1994). Addressing how the latter presents an origin myth for the artist, the essay underscores Schneemann's struggle over questions of genealogy, alliance, influence, and debt. On the question of debt, particular attention is given to its quality of ambivalence on terms of sexual difference, especially for father figures perceived as models of artistic expressivity, and the mothering body as a body of prohibition, labor, illness, and death. Examining the negation of the body, the role of aggression and violence, and the critique of the bind of “male fantasies” in Schneemann's work, the essay proposes a shift in feminist art historiography and its projections on Schneemann the artist. The essay asserts Schneemann's tale as a cautionary and self-reflexive one for those who come after, the would-be-daughters, who would negate the body, the struggle, the art yet again for the myth, in a time ripe for myth, in the wake of the artist's passing.