Elements Of Myth Research Articles

Review: Kabbalah and Sex Magic: A Mythical-Ritual Genealogy, by Marla Segol

Review: <i>Kabbalah and Sex Magic: A Mythical-Ritual Genealogy</i>, by Marla Segol

Perkembangan Historiografi Indonesia

The development of historiography in Indonesia cannot be separated from the historical background of the Indonesian nation. In the development of historical writing in Indonesia, several patterns or patterns of historiography stand out, namely, traditional historiography, colonial historiography and finally, national historiography or modern historiography. Each of these historiography certainly has its own characteristics. Like traditional historiography which is still thick with elements of myth and existed before the colonial period, even traditional historiography existed during the royal period. After that, traditional historiography changed to colonial historiography due to the entry of colonialists into this country. Colonial histiriography was also written by historians or people from the colonial government, the essence of which was that it was westerners who made it. Then after Indonesia was able to defeat the invaders, it changed to national historiography. The author is an Indonesian historian, and in writing, he genuinely knows Indonesia.&#x0D; &#x0D; Keywords: Historiograf, Indonesia, Tradisional, Kolonial, Moder.

The Unity of the Impression and its Technical Components and its Objective Frameworks in Hashim Gharaibeh's "Hmoom Saghira"

The strategy and idea of this study stem from the research hypothesis on the extent to which anecdotal units are represented, by the overall impression unit and its artistic constituents of personality, attitude, emotion, and space-time. The group is still qualified for critical handling as a landmark in the Jordanian storytelling process, in its ability to build a symbolic and iconic world for the Jordanian countryside and its thinking in the last third of the twentieth century, and its launch, and involving them in the spaces of narrative rhythm: temporal, spatial and humanity, The current trend of social realism, and its monitoring of environmental reality within a historical and civilized moment of the personality of the village society with its intellectual, cultural, economic, social and mythical elements. Therefore, reading the story in this research tends to be an exploratory tour of the components of the story and its elements; To reveal the role of the narrative components in the construction of the literary work and the harmony of its stylistic elements, narrative techniques and artistic elements that the writer invested for achieving unit impression.

Myth and History in Celtic and Scandinavian Traditions

Myth and History in Celtic and Scandinavian Traditions

Çocuk edebiyatı eserlerinde mitik görünüm: “Yeşim Taşı Efsanesi Gizemli Kitap” örneği

Erken dönemde hem evrenin kökenini, geçmişini hem de insanoğlunun yeryüzündeki serüvenini tanımlamaya, anlamaya ve yorumlamaya çalışan mitler, zamansız bir yaratılış öyküsüdür. Hayatın temel konularını tanımlayan mitler, insan doğasını açıklamaya çalışırken insanlığın kendi dünyasını nasıl gördüğünü ortaya çıkarır. İnsanoğlunun ortak kaderini, inançlarını, uygulamalarını anlamasına doğanın güçlerini keşfetmesine yardım ederek insan olarak kim olduğumuz ve hayatın anlamının ne olduğu gibi temel sorulara cevap arayan mitler, birkaç farklı işleve hizmet eder. Bunu gerçekleştirirken dünya üzerinde her kültür mitolojide aynı temel temaları işlese de her millet kendi kültürüne özgü isimler ve açıklamalar kullanır. Bu zihinsel üretimin kavranmasında edebiyat, geniş imkânlar sağlar. Çocuk için mitler, hem hayal güçlerini besleyerek kendi köklerini anlamalarına yardım eden hem de yaşadıkları sorunlara farklı çözüm önerileri getirerek gelişmelerini destekleyen bir disiplindir. Dünyayı doğrusal olmayan terimlerle algılayan çocuğun bakış açısından ele alındığında mitik unsurlarla örülü bir edebiyat, çocuğun kültürel değerlerini tanıyarak kendi köklerini kavramasına katkıda bulunur. Bu yönüyle mitik ögeler açısından oldukça zengin içeriğe sahip eserlerden biri de Ömer Ünal’ın Yeşim Taşı Efsanesi- Gizemli Kitap adlı eseridir. Türk mitolojisine ait birçok ögenin, Türk kültürüyle ilgili karakterler ve olaylarla anlatıldığı eserde kültürümüzdeki inanç ve ritüeller sembolik bir dille verilir. Çalışmada önce serinin ilk eseri olan Yeşim Taşı Efsanesi -Karanlık Dünyaya Yolculuk ve ardından çalışmanın esas konusu olan Yeşim Taşı Efsanesi –Gizemli Kitap tanıtılmış, ardından mitik ögelerin kurgu dünyasındaki işlevi ve anlamı üzerinde durulmuştur. Mitik ögelerin esere yansıyan görünümü sınıflandırıldıktan sonra mitik ögelerin anlamları ve sanat eserindeki fonksiyonları ortaya konmaya çalışılmıştır.

Fabricated Hadiths and Mythological Narratives -A Comparative Approach-

Hadis/Sünnet malzemesi farklı açılardan çalışmalara konu edilmektedir. Bunların bir veçhesini de kültür odaklı etütler oluşturmaktadır. Teknik hadisçiliği gözetmekle beraber, onun dışında bir noktaya odaklanan bu yaklaşımlar, hadisin içtimaî etkisini irdelemektedir. Bu çalışma, uydurma hadislerdeki mitolojik unsurları mezkûr yöntemle ele almayı amaçlamaktadır. Kur’an ve sahih sünnet/hadis, bu çalışmanın sınırları dışında tutulmuştur. Uydurma hadisler ve mitoloji meselesi ilk bakışta bir kapalılık arz etmekle birlikte, mevzuat kitaplarına bakıldığı zaman kıssacılar ve zındıkların kullandığı anlatı metotlarından birinin esâtîru’l-evvelîn/geçmiş kavimlerin hikâyeleri olduğu görülmektedir. Bu durum ise adı geçen iki grup üzerindeki mitik etkiyi sorgulama ihtiyacı doğurmaktadır. Bunun için makalede, hayvanlar, garip varlıklar ve devlerle alakalı uydurma rivayetler tetkik edilerek mitolojik ögelerle mukayesesi yapılmıştır. Araştırmanın merkezinde yer alan uydurma rivayetler: İbn Kayyım el-Cevziyye’nin (öl. 751/1350) el-Menâru’l-münîf’i; İbn Arrâk el-Kinânî’nin (öl. 963/1556) Tenzîhü’ş-şerî‘ati’l-merfû‘a ‘ani’l-ehâdîsi’ş-şenî‘ati’l-mevzû‘a’sı ve Aliyyü’l-Kârî’nin (ö. 1014/1605) el-Mevzûâtü’s-suğrâ olarak da bilinen el-Masnû‘ fî mâ‘rifeti’l-hadîsi’l-mevzû‘ isimli kitaplardan tespit edilmiştir. Mitolojik unsurların tespiti içinse farklı eserler kullanılmıştır. Makalenin başlangıcında araştırmanın yöntemi beyan edilmiş olup bu kısım benzer araştırmalar için de bir metot önerisi niteliği taşımaktadır. Çalışmada kullanılan metodun özünü, merkeze tevhid inancını ve İslâm’ı koyarak diğer kültürel birikim ve inanışları bu merkezden hareketle değerlendirmek oluşturmaktadır. Zira İslâm, Hz. Âdem’den başlayıp Peygamberler silsilesiyle devam eden bir inanç sisteminin ortak adı olması hasebiyle tüm ideolojik ve fikrî birikimlerden zamansal olarak öncedir. Bu sebeple asıl odur, diğerleri ise ya ona benzeyen ya da onun tahrifiyle oluşan unsurlardır. Hadis-kültür ilişkisi bağlamında vurgulanması gereken hususlardan biri budur. Diğer yandan insanların yaşadığı sosyal çevresi, zamanı, mekânı ve düşünceleri birbirlerinden farklı olsa da fıtratlarındaki mevcut özellikler sebebiyle benzeşen yanlarının olduğu söylenebilir. Bu hakikat, bize kutsalla alakalı anlatılar bağlamında bir fikir vermesi adına kâfidir. Bu durumda uydurma rivayetlerle insan ürünü mitolojiler arasında ortak unsurların bulunması gayet tabiidir. Nitekim yaptığımız araştırmada mevzu hadislerde mitik unsurların olduğu müşahede edilmiştir. Araştırma boyunca birbirlerinden çok farklı coğrafyalarda yaşayan milletlerin mitolojilerinde ve uydurma hadislerde benzeşen ve ayrışan unsurlar görülmüştür. Anlatılar içerisindeki benzeşmeleri insan unsuruyla açıklamak mümkündür. Zira nerede olursa olsun insan zaaf ve kemal yönleriyle benzeşmektedir. Ayrışmaları ise coğrafya ve kültür unsuruyla izah etmek imkân dâhilindedir. Nitekim farklı ortamlarda bulunan insanların farklı yaşayış biçimlerine sahip olacağı, kendi coğrafyalarının merkezinde yer alan varlıkları merkeze alarak bir kültürel birikim oluşturacağı izahtan varestedir. Bu durumda çölde yaşayan bir Arap’ın hayatının merkezinde devenin yer alması ve bu hayvan merkezli inanışlar türetmesi ne kadar doğalsa Antik Yunan gibi denize komşu bir coğrafyanın vatandaşının da deniz varlıklarını merkeze alan inanışlar ve mitler türetmesi oldukça doğaldır. Bu durumda vaddâ‘ların ve uydurdukları rivayetlerin tahlili için yaşadıkları coğrafyayı ve kültürü irdelemek önemli bir husustur. Bunu gerçekleştirmek için de disiplinler arası çalışmalara önem verilmesi gerekmektedir. Binaenaleyh coğrafyacıların eserlerinden hareketle uydurmacıların nispet edildiği kabile ve beldelerin incelemesini yapmak, mevzuat eserlerinde yer alan uydurmaları anlama ve anlamlandırma noktasında önemli bir işleve sahip olacaktır. Tüm bunlardan hareketle şunları söylemek mümkündür: Coğrafyalar ve inançlar başkalaşsa da tarihi bizzat yaşayarak oluşturan insan cinsi her hâlükârda benzerlikler taşımaktadır. Bu sebeple kültürlerarası etkileşim olması, inanış benzerlikleri, korku ve sevince vesile olan durumların birbirini anımsatması tabii bir durumdur. Bunları tetkik etmek insanı ve toplumu anlama ve anlamlandırma noktasında hadis ve kültür araştırmacılarına istifade edilebilir bir malzeme sunmaktadır.

Neomythology: A New Religious Mythology

The purpose of this paper was to present the link between the myths in the plots of modern entertainment products, such as science fiction novels, movies, comic books and video games, with the motifs of New Religiosity. The plots employed in these products are of a mythical nature. This re-emergence of myth is once more taking centre stage today. The social sciences and humanities concerned with this phenomenon call it “neomythology”. Neomythology, in whatever form, as a comic book, video game, etc., shows gods and supernatural heroes or villains interacting with one another in certain ways. The ways these mythical elements are combined and displayed confirm that neomythology belongs to New Religiosity and repeats motifs of New Religions and New Age myths, such as the secularization of the absolute, that is to say, the placing of the transcendental element in the material and explainable world, the absolutisation not only of the acquisition of power but also those who bear it, the correlation of magic and technology, and the reuse and utilization of the mythology of the past and of traditional religious teachings, in order to produce a new myth.

The Mythical Elements of “Tree” in Animation : Focusing on Japanese Mythology, My Neighbor Totoro, Another World Restaurant, The Piano Forest, and Miyori Forest

The Mythical Elements of “Tree” in Animation : Focusing on Japanese Mythology, My Neighbor Totoro, Another World Restaurant, The Piano Forest, and Miyori Forest

《레버넌트: 죽음에서 돌아온 자》를 통해 본 모피의 신화·문화적 상징과 의미

Since hundreds and thousands years ago, people have gotten furs from animals in order to survive from harsh environment at first. Time goes by, the acts of survive gradually becomes for fulfilling maniac desire of possession not just for surviving like primary era. Several countries such as England, France, Spain, Netherlands, etc. in the middle age slashed animals for their furs in order to make bloody money. These European countries crossed the Atlantic to conquer the American continent in search of fur, and in the process, bloody clashes, including Beaver Wars, broke out. Fur, which was once acquired for the desire to survive, turned into madness to money and it caused violent clashes between humans around the world. The chief aim of this paper is to reveal the mythic and cultural meaning of fur with its symbolic images in Alejandro González Iñárritu’s The Revenant. The film shows various kinds of symbolic meanings of fur with its vengeance storytelling and the wars that really happened in history. I would like to find each meaning of certain furs out and I also will reveal how the furs relates to the mythical elements of heroes born in terms of death and resurrection in The Revenant. (Dongguk University)

Studi Semiotik Feminisme pada Film Marlina Si Pembunuh dalam Empat Babak (Analisis Semiotika Roland Barthes)

Background : Film is one of the modern mass communication media as an information medium that has the ability to convey messages. One of the Indonesian films that carries the theme of feminism is the film Marlina The Murderer in Four Acts which is also directed by a woman, Mouly Surya. Objective : To find out more about the signs of feminism that exist in the two characters Marlina and Novi in ​​the film Marlina The Murderer in Four Acts directed by Mouly Surya. Methods : This study uses a qualitative approach to the theory of semiotic analysis of Roland Barthes. The primary data used is data obtained directly from the object of research, namely the film Marlina The Killer in Four Acts and secondary data obtained from scientific sources that can support this research. significant two stages and their mythical elements. Results : This film tells the story of a woman who struggles against the patriarchal system where she gets violence and sexual harassment and the resistance of women in this film is very different from the stereotype in general where women are described as gentle figures. Conclusion: The results of this study show signs of feminism with two female characters with different characters but able to fight, this film indicates feminism but has an element of masculinity. In this film, it is legal to use masculine attributes to seize the goals of feminism, which in this study femininity cannot be limited by symbols and attributes.

Disney, Little Women, and Me

AbstractThe search for identity, security, and recognition by the women of Samoa is both a cultural issue and a personal one. This article offers an analysis of the issues facing Samoan women, making use of both social science research and two popular Disney films—Lilo &amp; Stitch and Moana—that deal generally with Polynesian culture and specifically with the kinds of developemental issues facing women. Although Samoan women are facing the social dislocations caused by modernization, the mythic elements in movies that draw upon Polynesian legends can provide guidance. In addition, I draw upon one of my favorite films, Little Women, to reflect on how I continue to navigate emerging gender roles and expectations. As a woman living in Samoa, my own experience serves as a window into our culture, so I draw upon my own personal questions in reflecting on the material presented in fiction that helps us solve the problems that arise as cultures collide.

“Medieval” Islands on the Amazonian Coast: Medieval Remains in the Amazonian Popular Culture and Culturally Interlarded Myths

In which sense could we possibly catch a glimpse of “Medieval Islands” on the Amazonian coast? This paper aims at unravelling and explaining how some old medieval Portuguese mythical matter and mythemes do still exist and thrive in terms of popular culture on the “Island of Maranhão”, i.e. <i>Upaon Açu</i> or the “Isle of São Luís” until the present time, in comparison to some mythical elements to be found on the Island of Marajó, in Pará. Both Pará and Maranhão are Amazonian federal states of Brazil and this paper emphasizes the historical permanence of medieval mythemes, of course combined with other very complex and cross-cultural heritages pertaining to nowaday population of Maranhão, to which the Island of Marajó shall be a term of historical and archaeological comparison. We expect to arouse scholars’ interest to our subject in a Global History perspective, which takes into account the links and unexpected cultural traits of Middle Ages still thriving in Brazilian popular culture as the upshot of a long-term and complex cross-cultural process that has been taking place in American countries since the late 15th. century. Little attention has been paid to the role of medieval mythemes along this complex process and I should like to endeavour to fill this historiographic gap by proposing the present paper. Therefore, the main purpose of this paper is to highlight and discuss the evidence of a medieval past transposed to the Portuguese Amazon, whose legacy is up to our days a very plentiful popular culture in terms of medieval references, such as the phantom barks and “Mothers of Creeks”, as we pimpoint along the text. This essay is keen to address this polemic topic by drawing on some authors and theorists who, in our view, must be brought back to the proscenium of scientific discussion concerning Social Sciences. The first and main one is Luís da Câmara Cascudo, a major folklorist and researcher whom we should like to introduce to international academic readers. Hence, this little essay aims at wreaking new academic discussion on the formation and colonization of the Amazon in cross-cultural terms.

Chinese Charm and Personages in Malay Historiography

Historiographical works are an important source in tracing the early interactions between the Malays and Chinese, through the depiction of certain personages. Furthermore, the Malay society's knowledge about China is presented by the writers through charming descriptions of Chinese customary practices, traditions and arts. At the same time, an assessment of the relationship between the Malays and Chinese, as presented in historiographical works, reveal many mythical elements whose existence requires explanation. This raises many questions concerning the existence of Chinese personages and Chinese presence in Malay historical writings, and to what the extent these accounts are true. This article will discuss these issues by examining selected historiographical works in Malay literature and related historical records. The discussion is based on an intercultural approach to Malay literature and its relevance to the present time.

Balkan Fethinde Rol Alan Sarı Saltuk ve Seyyid Ali Sultan Hakkındaki Menakıpnamede Yer Alan Efsanevi Motifler Üzerine

The veterans and dervishes played a major role in the Ottoman Empire’s conquest and settlement of the Balkans, as well as the settlement policy’s success. They were effective in the regulation of economic, religious, social and cultural life. Sarı Saltuk and Seyyid Ali Sultan are among the best known. Dervishes influenced the people both in the period they lived and in the following periods, and became role models for the people with their services in the Balkans regardless of language and religion, with their good morals and miracles. By building a bridge between the past and the future, they gained a legendary identity and personality thus their Menakıpnames appeared. Menakıpnames are the story of the Balkan conquest and the spread of the Turkish-Islamic culture in these regions, as well as the biographies that exaggerate the lives of the veterans-dervishes. In this context, this study seeks to answer following questions: Who are Sarı Saltuk and Seyyid Ali Sultan? What are the general characteristics of Sarı Saltuk and Seyyid Ali Sultan Menakıpnames? What are the legendary motifs in their Menakıpnames? To what extent do these Menakıpnames shed light on the Balkans becoming a part of Ottoman culture and civilization? The common mythical elements and miracle motifs in the Menakıpnames of Sarı Saltuk and Seyyid Ali Sultan, such as dream, wooden sword, walking on water, and extracting water from soil or stone were examined by quoting from the related texts. The examples of these legendary elements in pre-Islamic old Turkish beliefs and epics, Islamic culture and Islamic Turkish epics and Bektashi legends were presented comparatively, and the similarities between them were emphasized.Keywords: Legendary, Bektashism, Dervish, Dervish Lodge, Menakıpname, Keramat, Balkans.

The Mythical Dimension in Saulius Tomas Kondrotas' Novel “The Look of a Grass-Snake”

The aim of the article is to identify and explain the mythical images used in Saulius Tomas Kondrotas’ novel “The Look of a Grass-Snake”. By transforming pagan and Christian mythical systems, the writer contrasts them with rational thinking. In “New Age“ there is no place for myths and the meanings of figurative language. The mythical dimension in the work is understood as a way of perceiving the world that contradicts the modern idea of ​​progress. S. T. Kondrotas also transforms the meanings of archetypal figures such as fire, sun or grass-snake in his novel. The concepts of life, death, or rebirth gain the different perspectives from archaic and modern world. New mythical dimension allows us to reconsider existential phenomena of human existence in a new light. In this way, the Baltic worldview extends its life in works of art, and the literature, which contains mythical elements, becomes a modern version of the myth.

The Audience’s Perspective: Decline of Mythical Elements in Films

Myths have always been a source of inspiration for literary and artistic creation because of their surreal image and idealized vision. To inherit the national culture and the spirit, many films eastern and western take mythical elements as a medium of meaning. So, has the appearance of mythical elements in the films received a positive response from the audience? Based on the films ( n = 919) released in mainland China cinemas from September 2015 to September 2018, this article uses the method of regression analysis and Latent Dirichlet allocation topic model to verify the relationship between mythical elements and audience acceptance. The results show that (a) mythical elements have no significant impact on the box office revenues; (b) and have no positive impact on the film ratings; (c) there is no significant mythical topic in the film reviews of mythical films, which shows that the public in modern society does not show sensitivity to the mythical elements in films. Finally, we discuss the possible causes of the results and put forward corresponding suggestions for the producers of mythical films.

Création et expression d’identités « tigrées » au Brésil

"The various cultures that coexist in Brazil have established a specific dialogue between them. The mythical elements present in the imaginary originate from various continents. It is possible to understand these images, their dynamics and their dialogues through a myth-criticism of the media. In this paper, we shall analyze images linked to a specific theme such as hunger, and its various artistic expressions."

Greek Necromancy: Reality or Myth?

SummaryThe article investigates the extent to which Greek necromancy fits into the wider eschatological, cultic and historical context of an epoch demarcated on the one hand by Homer and on the other by the Classical period. The oldest purported necromantic ritual, with the help of which Odysseus descended into the underworld, is a literary construct inspired especially by the heroic tomb-cults. Scenes depicting funereal necromancy, written by dramatists of the Classical period, were also drawn from this source. Ability, behavior and appearance of heroes were additionally ascribed to the so-called restless spirits and revenants and later came to include all the dead. The main cause of this was a change in eschatological ideas and especially heroization, which in the Roman period spread nominally to all the dead. Reports about necromancy include a high percentage of mythical and literarily-dramatized elements that simply do not correspond with contemporary ideas about the soul, the dead, the underworld and chthonic deities. It therefore appears almost certain that, at least to the end of the period described, necromancy was not carried out in reality but remained only the literary surmise of the possibility indicated by Homer.

An Anti-Imperial Mythology

Critics have read Howards End as if Forster ‘specifically barred’ the poor from the novel (Trilling), so that only the middle classes are considered and not in a ‘truly radical’ way (Crews). Yet Forster does, after all, concern himself with the very poor in his depiction of Leonard Bast, Jacky and other characters, and extensively in the thoughts of Margaret. Furthermore, he creates the myth he says England lacks, and, considered in relationship to the main narrative events and to the novel’s imagery, this takes the form of an anti-imperialist mythology. Mythic elements include epic journeys and battles, a symbolic sword and tree, a sacrificial death and a redemptive child. In the novel’s poetic passages and in its account of Margaret’s education on the ‘hard road of Henry’s soul’, the nature of England’s imperialism is revealed and defeated by an alternative radical and feminist vision of society.

Stowaway stories and mythological realism in Yuri Herrera’s Signs Preceding the End of the World and Mohsin Hamid’s Exit West

This article examines how contemporary authors writing about migration turn to fantastic, spectral and mythical elements when writing about passages of transit. I turn to narratives written by Yuri Herrera and Mohsin Hamid and explore how these authors use mythology and magic to resist telling a ‘true’ story, creating what I call a stowaway aesthetic that hides away other stories in its narrative. By stowing away information and misrepresentation through magic, these authors create impossible stories that attend to archival silences. They enact a resistance against the ways in which the state extracts and polices narrative in the process of asylum-seeking. I argue that in the moments in which authors eschew realism, they direct the reader’s attention to the unknowable aspects of migrant lives that constitute an absent presence in the process of migration.