Greek Mythology Research Articles

ORIGINS OF THE GREEKS AND GREEK DIALECTS

The coming of the Greeks is associated with one of the major transformations: at the beginning of the Neolithic (when the Indo-Europeans appeared there, from which the Greeks separated), at the beginning of EH, in EH II/III, and at the beginning of LH I. With the exception of the first hypothesis, the others try to associate these transformations with migrants from the steppe. In fact, in none of these periods there is material comparable to the steppe. The Greeks came in EH IIB from northwestern Anatolia and slowly spread across the south of the Balkan Peninsula. The Anatolian origin of the Greeks is indicated by many features in Greek mythology, as well as by archaeological and linguistic evidences. In Greece, the aliens found a Luwian substrate, whose assimilation took a long time. An important feature of the process was that it was not one-time migration, but a prolonged colonization with the establishment of strong and extensive trade relations.

Press publishers’ right in France: a tale of Odyssean gods

The author wishes to sincerely thank Prof. Caroline Le Goffic for her thorough feedback in the preparation of this article and Siwar AlMashal for proof-reading it. The thoughts, views and opinions expressed solely belong to the author and not necessarily to his employer, organization, committee or other group or individual. An Odyssey generally depicts a long voyage marked by many changes of fortune during which an individual encounters a myriad of exhilarating experiences. However, in Greek mythology, unlike in modern literature, the Odyssey stems from the gods’ ire; they are known to be unforgiving divinities who, when angered, tamper with mortal affairs. In his epic poem The Odyssey, ancient Greek poet Homer tells the story of Odysseus, king of Ithaca, and his rather turbulent nostros (journey home). After his infamous victory in Troy, the Greek hero anticipated a simple and swift journey home. Little did he know that his...

성경과 나르시스 신화의 조화

This article presents the harmony of the Bible and Greek Mythology in Tirso de Molina’s play, La venganza de Tamar. Through the confluence of the historical events of Amnon and Tamar in the Old Testament and the Myth of Narcissus in Greek Mythology, Tirso creates La venganza de Tamar, a ‘psychological’ play, which was rare in the Golden-Age plays. This study proves that Tirso instills a narcissistic personality and psychology into the biblical characters, allowing readers or spectators to empathize with the character’s actions, allowing them to go down into the depths of historical events rather than staying on the superficial surface. Together, Tirso cites excessive pursuit of desire as the cause of the Davidic dynasty’s crisis and conveys this message to Spanish society at the time in an aesthetic way.

Analyzing Hellenistic Elements in Keats’s Poetry- with Special Reference to His Tales in Verse

This study incorporates elements of myths and feministic beauty in inter-contextual structure in John Keats' poetry. This research is majorly concerned with the use of ancient Greek mythology and the elements of feminine beauty in Keats' mythological poetry. The study investigates Keats's search for truthfulness and beauty, his identification of love for poetry and his creation of his poetic genius with special reference to feminine beauty in his poetic works. The research is descriptive and qualitative in nature the framework is established by reviewing related poems and previous literature. Thus the data is generated from two main sources, the primary source which includes the selected poetry of John Keats and the secondary source which includes reviews of previous literary work. The Textual Analysis Method of Research is followed as the theoretical framework of Hellenism that comprehends a certificate for the conclusion of research problems.

The Appearance of Greek Destiny in Sándor Márai’s Novel ‘Embers’

In my research I am going to analyze the various instances of destiny and fate in Sándor Márai’s Embers, since they play an important role in Greek mythology. In my view, the mythologically rich story created by Márai contains the characteristics of the Greek interpretation of destiny, along with Ananke, the Goddess of Destiny, the moiras weaving the yarn of destiny, and Eros, controlling destiny. Owing to this the unfolding of the philosophical tradition connected to Eros is going to be emphasized.

Saagar Manthan (The churning of the great ocean)—How I came to understand psychoanalysis through Hindu mythology

AbstractMuch has been written in psychoanalytic literature about the many gods and mortals of Greek mythology, however, a search on PEPWEB with the keywords ‘Hindu mythology’ revealed scant results. The fact that, barring some exceptions that may shed light on the original Oedipus, Ganesha (Kakar, 2005; Tang & Smith, 1996) a culture which acknowledges 33 million gods and uncountable parables has generally gone untapped for its psychological sap probably serves as a reminder that psychoanalysis has been mainly a westerner's craft. With this essay I intend to share thoughts that have emerged during my own analysis, memories from childhood, and reveries in adulthood. I intend to share how my thoughts about Hindu mythology have helped me understand how the complex process of psychoanalysis might work.

The Icarus Flight of Perinatal Stem and Renal Progenitor Cells Within Immune System.

Our immune system actively fights bacteria and viruses, and it must strike a delicate balance between over- and under-reaction, just like Daedalus and Icarus in Greek mythology, who could not escape their imprisonment by flying too high or too low. Both human amniotic epithelial and mesenchymal stromal cells and the conditioned medium generated from their culture exert multiple immunosuppressive activities. They have strong immunomodulatory properties that are influenced by the types and intensity of inflammatory stimuli present in the microenvironment. Notably, very recently, the immunomodulatory activity of human adult renal stem/progenitor cells (ARPCs) has been discovered. ARPCs cause a decrease in Tregs and CD3+ CD4− CD8− (DN) T cells in the early stages of inflammation, encouraging inflammation, and an increase in the late stages of inflammation, favoring inflammation quenching. If the inflammatory trigger continues, however, ARPCs cause a further increase in DN T cells to avoid the development of a harmful inflammatory state. As in the flight of Daedalus and Icarus, who could not fly too high or too low to not destroy their wings by the heat of the sun or the humidity of the sea, in response to an inflammatory environment, stem cells seem to behave by paying attention to regulating T cells in the balance between immune tolerance and autoimmunity. Recognizing the existence of both suppressive and stimulatory properties, and the mechanisms that underpin the duality of immune reaction, will aid in the development of active immunotherapeutic approaches that manipulate the immune system to achieve therapeutic benefit.

Etymological Aspects of Apollo’s Mythology

The present study focuses on how etymology could play an important role in the mythology of Apollo. Obviously, when it comes to the issue of the meaning of names, one often enters the realm of speculation. However, in many instances of Apollo’s mythology, etymology seems to reflect important aspects of the myth. These aspects start with Apollo’s family and birth, and continue with his role in Greek mythology. The accord between etymology and mythology appears to be more than a simple coincidence.

Gods as Difficult Guests in Greek and Indian Mythology

Though ancient Hebrew, Greek, and Indian texts tell tales of generous people rewarded for offering hospitality to strangers, particularly to gods in disguise, these strangers often subject their hosts to many torments. And the ancient mythology of hosts and guests tricked or forced to eat their own children suggests that the widespread laws enforcing hospitality to strangers were needed to counteract a basic human tendency to fear such guests, a fear that the mythology validates.

ДРЕВНЕГРЕЧЕСКИЙ СЮЖЕТ И ЕГО ТВОРЧЕСКАЯ ИНТЕРПРЕТАЦИЯ (НА МАТЕРИАЛЕ ПРОИЗВЕДЕНИЙ СОВРЕМЕННОГО НЕМЕЦКОГО ПИСАТЕЛЯ ШТЕФФЕНА МАРЦИНЬЯКА)

The article analyzes the transcriptions of ancient myths in the work of the modern German writer Steffen Marciniak. The reasons for his appeal to ancient Greek mythology, its plots, motives and images are clarified, the author’s intentions and ways of their artistic embodiment (interpretation) in a specific text are fixed. The analysis is carried out with the involvement of the reception history of ancient myths in the German-speaking cultural space. Within the framework of historical-literary and historical-comparative analysis, the Russian language context is involved. The transcriptions-retellings-interpretations by Marciniak of original ancient mythological storylines are analyzed both from the point of view of the problem and thematic scope, and the plot, structural and compositional particulars of the writer’s texts. The connection of Marciniak’s works with the peculiarities of his biography, personal psychological and ideological, as well as artistic and aesthetic orientations is traced. It reveals that the main theme, that excites the writer and forms the basis of his plots, becomes the core of interpretation and refers to tradition. Based on the analysis, an attempt is made to determine the specifics of the individual poetics of the writer, to fit it into the general context of German literature of the XX-XXI century.

The Spiral of Words by Jorge Armenteros

Reviewed by: The Spiral of Words by Jorge Armenteros Karen Corinne Herceg (bio) the spiral of words Jorge Armenteros Spuyten Duyvil Press http://www.spuytenduyvil.net/the-spiral-of-words.html 250 pages; Print, $16.00 The Spiral of Words is Jorge Armenteros's third book in a trilogy that explores probative spiritual and existential issues. I highly recommend reading all three books, although each can certainly stand alone. In the traditions of myth and archetypal exploration, the character of the Striped Tunic returns once again as a seeker. Calixto, a writer, searches for words as a way to find meaning in a fearful, arbitrary, and uncertain existence. Calixto's approach to life leads him in confusing, circular paths as he spirals between illusion and truth. Armenteros examines the complexities of finding expression through language. His prose style is non-traditional but wholly accessible, questioning the constructs of language, how we perceive and navigate reality, and what it means to be human. The characters afford us minimal personal information. Doing so would detract from the universal imperatives Armenteros is conveying. Calixto, sees himself as "a conflicted writer and a walker in a dangerous void." Armenteros references Brazilian writer Clarice Lispector whose works explored the concepts of mystery, illusion, and reality and existing intuitively in a void, an overriding theme of The Spiral of Words. The writer seeks answers searching for the right words. Herein lies the spiral. While a viable resource, words are not a definitive methodology for explaining our existence. We must remain open to mystery, not allowing fears and insecurities to obscure possibilities for truth that can only be accessed in acceptance of the void and accessed by intuition. Calixto has set himself apart in a world he finds contrary and defined by separation. We see this in his perceptions such [End Page 62] as "the sun was assailing the beach." Colors weep and copulate, and sunlight shining through a window is "biting a chunk of his leg." He is at odds with the language he seeks for expression. He begins a long walk to the ancient Iberian Peninsula and the vast void of the ocean. Armenteros weaves symbols throughout his work, such as the essential elements of air, water, earth and fire. Of course, the first book of this trilogy is entitled Air and the second is The Roar of the River. All three books integrate the elements as characters walk the earth seeking answers. Fire is a transformative force representing the conflagration of an inner shift. The repetition of the number three, bread as a symbol of life, and the col-or red are highly prominent. The number three has a tradition representing spiritual authority, often associated with intuition as in the Trinity, whose three circles symbolize eternity and God. Calixto finds the number three to be "mysterious, metaphysical, and magical." And, of course, this book is the third in a trilogy. Calixto meets three women whose names begin with the letter L that signifies divine purpose. He meets Lulu in his hometown of Nice and wonders if he knows "her soul." She has three red stars tattooed on her ankle. Later he meets Lyubochka whose name means love in Russian. She has a tattoo of a salamander on her neck. Salamanders regenerate lost limbs which correlates to a resiliency of spirit. They are also associated with fire, hinting at opportunities for transformation and enlightenment. She speaks of "the essential relativity of all perceptions." His meeting with Leda references a queen of Greek mythology who becomes a swan, a symbol of divine healing and renewal. Bread is shared often. Lyubochka refers to it as "the essence of life." Red is the color of blood and life force of humanity. It is an imperative to forego our will to allow truth and mystery to flow through us and override the beast that seduces us with ego and illusions. Calixto meets an old man named Theo whose name means Divine Gift. There are references to Calixto's earlier book, No Somos Pero Somos, which translates as we are not but we are. Theo tells him it is all lies. Calixto accepts this "but points out that he only...

The Hidden Contrast of Fathers and Sons: With a Focus on Princess R. and Odintsova

In Ivan Turgenev s novel, Fathers and Sons, the contrast between the characters plays a significant role in the theme and characterization of the work. Quite a number of studies have, thus far, analyzed various contrasts between the main characters, especially the relationship between the father(s) and the son(s). However, studies that examine the relationship between Princess R. and Odintsova, which has important implications for the main theme of the work, have been quite limited. This study attempts to clarify that after defining Princess R. and Odintsova’s relationship as a quintessential mother-daughter relationship, their “hidden contrast” plays an important role in shaping the theme of the work. Above all, under the assumption that the Sphinx and Oedipus in Greek mythology represent the uncertainties in human life and the limitations of human reason, this study conducted an analysis on Princess R., Pavel, Odintsova, and Bazarov. In particular, noting that Princess R. and Odintsova are closely related to each other through the symbolic meaning of the “Sphinx,” this study attempted to define them as the “Sphinxes of solving mysteries” rather than the “Greek Sphinxes.” This hidden contrast between them will be of little but decisive help in understanding Pavel and Bazarov, and the main theme of the work, “eternal reconciliation with indifferent nature.”

Mythological and Historical Representation: A Critical Discourse Analysis on Aeschylus’s Poems The Sacrifice of Iphigenia and The Battle of Salamis

An allusion is a reference to a well-known person, place, event, literary work, or work of art. The main purpose of this research is to find the allusion in the selected poems of Aeschylus The Battle of Salamis and The Sacrifice of Iphigenia and critically analyze the poems to explore and describe the story and mythology behind the expressions in each line. This research is conducted qualitatively and applies purposive sampling to choose and gather the data. It can be reported that both poems represent Greek mythology and history. The representation is derived from expressions, which are in the form of words and sentences. It is found that the allusion found contains names of figures in Greek mythology, such as god-goddess (Artemis), kings (Agamemnon, Atreus), and places (Strymon). These become the references to convey the meaning and to deliver the message of the poems. Regarding these names, the poet connects his idea in the poem to the Greek story and mythology. In addition, there are three functions of allusion confirmed in this research; those are delineating the character, carrying the theme, creating humor. Accordingly, it is noteworthy that allusion can be used to identify the correlation between a particular text and reality, history, and even mythology. In this case, it is noteworthy that allusion is not only a reference, but it also makes expression in the poem more vivid, flowery, interesting, and attractive.

Gods and monsters: Greek mythology and Christian references in the neurosurgical lexicon.

Background: Myths and religion are belief systems centered around supernatural entities that attempt to explain the observed world and are of high importance to certain communities. The former is a collection of stories that belong to a cultural tradition and the latter are organized faiths that determine codes of ethics, rituals and philosophy. Deities or monstrous creatures in particular act as archetypes instructing an individual’s conduct. References to them in Greek mythology and Christianity are frequently manifested in the modern neurosurgical vernacular.Methods: A review of the medical literature was performed using the PubMed and MEDLINE bibliographic databases. Publications from 1875 to 2021 related to neurosurgery or neuroanatomy with the medical subject headings (MeSH) terms mythology, religion, Christianity and Catholicism were reviewed. References pertaining to supernatural beings were classified to either a deity or a monstrosity according to their conventional cultural context.Results: Twelve narratives associated with neurosurgery were identified, nine relating to Greek mythology and three associated with the Christian-Catholic faith. Eight accounts concerned deities and the remaining with monstrous creatures.Conclusion: This article explores the etymology of commonly utilized terms in daily neurosurgical practice in the context of mythology and religion. They reveal the ingenuity and creativity of early pioneers who strived to understand the brain.

A0506 - ‘Aphrodite’ and ‘Priapus’: The mother-son duo from Greek mythology and their link to urology

A0506 - ‘Aphrodite’ and ‘Priapus’: The mother-son duo from Greek mythology and their link to urology

Troy between mythology and documents

Greek mythology mentions Motylos, king in Asia Minor, who received Helen and Paris after they fled the mythical Sparta. Who was Motylos and whether his appearance in ancient Hellenic mythography is in fact perhaps a reminiscence and some “rough” memory of a real ruler of Asia Minor in the XIII century BC. As one of the first candidates for possible reminiscence is Muwatal II. (Muwatalli; Muwatallish) Hittite ruler in the period (according to a short chronology) from 1295 to 1272. BC. The main reason is the existence of a document, found in the Hittite archives in Hatusha, which is called the Alaksandu Treaty (CTH 76). It is a diplomatic treaty (with an approximate date cc 1280 BC) between Muwatal II. and Alaksandu, king of Wilusa. In historiography and archeology it is now unquestionable that Wilusa refers to that city which in ancient Hellenic mythology is called Ilion, while Aleksandu is associated with Paris (Πάρις), whose name by birth was Alexander (Ἀλέξανδρος). It is interesting that in Greek mythology, there is also information that the Paris and Helena fleet was cruising the eastern Mediterranean and that it was carrying out attacks along the coast of the Levant. Perhaps this mythology is actually a memory of the time when the Trojans were part of a military contingent led by Muwatal in the war with the Egyptian pharaoh Ramesses II, which broke out after the conclusion of the Treaty of Aleksandu.

ЭВОЛЮЦИЯ ОБРАЗА ГЕРАКЛА В СОВЕТСКОЙ МУЛЬТИПЛИКАЦИИ

The concept of heroic is an integral part of the mythosystem and ideological constructs characteristic of the culture of a particular period. In Soviet culture, the heroic is modeled and promoted through artistic images that reproduce the ideals of the Soviet state. A special role in the concept of heroic is given to the image of a hero who reflects the ideals of society and broadcasts a pattern of behavior that meets the picture of the world characteristic of culture. Based on the traditions of the Greek mythosystem, Soviet culture transforms ideas about the heroic and hero in accordance with ideological attitudes. The article analyzed the evolution of the image of Hercules in the Soviet animation in two periods: the period of «stagnation» and the period of «perestroika». The authors turn to the cycles of animated films created based on the Greek mythology by directors A. G. Snezhko-Blotsky and A. A. Petrov. Focusing on the plot basis and interpretation of Greek myths presented by A. G. Snezhko-Blotsky, the authors note the glorification of the image of Hercules, which differs from the concept of heroic, presented in the Greek mythosystem. The image of Hercules acquires a synthetic character, combining the features of the heroes of Greek mythology and Soviet culture, the tragic character of the heroic is emphasized, the mythological chronotope acquires historical features. Analyzing the cycle of cartoons created by A. A. Petrov, the authors focus on the evolution of the concept of heroic, which loses scale and loses its dominant character. Heroic is replaced by lyrical, psychologism and universal human problems come to the fore, not burdened with ideological connotations. The article notes the influence of sociocultural processes on the meaningful constructs of the Soviet mythosystem, which lead to a change in cultural codes and their representation in domestic animation.

Liderlik ve Narsisizm

Studies on leadership, which have increasingly continued from the past to the present, have necessitated a more comprehensive approach to the subject and the examination of other variables related to leadership, as the importance of the concept has come to the fore in all sectors. Narcissism, a concept as old as Greek mythology, is evaluatedclinically in the field of organizational behavior as a personality trait. In this study, the relationship between the concept of leadership, which is the subject of many studies in the management literature and narcissism which has an important place in psychology is discussed in the context of a comprehensive literature review and other similar studies.

Meditation on the Fall of Icarus

Lieutenant (j.g) Karl W. Kirchwey, Jr., 1944 Meditation on the Fall of Icarus KARL KIRCHWEY I. all my life, I have been fascinated by aviation and the history of human flight. It is possible that this interest is genetic. The uncle for whom I am named, my father’s younger brother by two years, was a Navy fighter pilot flying off the aircraft carrier U.S.S. Enterprise in World War II. He was a Lieutenant (junior grade) killed at the age of twenty-two during the first day of the invasion of the island of Saipan, in the Northern Marianas. He was a member of Fighting Squadron Ten, called “The Grim Reapers,” the logo for which was a skeleton in a steep dive wearing a flying helmet and goggles, holding a blood-stained scythe. On June 15, 1944, his plane was shot down by Japanese anti-aircraft fire—or it may have been brought down by friendly fire from a U.S. Navy ship bombarding the island—and crashed into the sea. His body was never recovered. He was, according to the usual custom, listed as missing for a year, and then he was declared dead. He died twelve years before I was born, but he has paid me posthumous visits every fifteen or twenty years. His present visit may be his last, for although he lives now in a world beyond time, I do not. In Greek mythology, after having murdered his nephew Talos in a fit of jealousy, the celebrated inventor Daedalus took refuge on the island of Crete and made his skills available to King Minos. When he later wished to escape from Crete with his son Icarus, Daedalus devised wings for both of them, feathers sized just like the coverts of birds’ wings and held together with stitching and wax. Arthur Golding’s 1567 translation of the passage from Ovid’s Metamorphoses describes both the miraculous moment of first flight and the specificity of Daedalus’ parental concern: arion 29.3 winter 2022 2 meditation on the fall of icarus As soon as that the worke was done, the workman by and by Did peyse his bodie on his wings, and in the Aire on hie Hung wavering: and did teach his sonne how he should also flie. I warne thee (quoth he) Icarus, a middle race to keepe. For if thou hold too low a gate, the dankenesse of the deepe Will overlade thy wings with wet. And if thou mount too hie, The Sunne will sindge them. Therefore see between them both thou flie. (Golding 8.270–6) Daedalus’ emphasis on the importance of following his instructions and on steering a middle course echoes that of the sun god Helios to his son Phaëthon in the other great Greek myth about a father-son flying team. “I will guide thee right,” says Daedalus in Golding’s account, and: In giving counsel to his sonne to order well his flight, He fastned to his shoulders twaine a paire of uncoth wings. And as he was in doing it and warning him of things, His aged cheekes were wet, his hands did quake, in fine he gave His sonne a kisse the last that he alive should ever have. (Golding 8.282–5) The detail of Daedalus’ tears is poignant: Icarus’ doom seems foreordained, the child’s inability to follow his father’s advice . And it is characteristic of human aviation that, even in this early instance, it is neither an entirely solitary pursuit nor an entirely communal one. It is both. The operational ceiling of my uncle’s F6F3 Hellcat fighter plane was 38,000 feet, approximately that of a modern commercial airliner, although he had no heated, pressurized cabin, and had to breathe oxygen through a mask. The planes climbed well and were highly maneuverable but, being heavily armored, they dove “like falling safes” (Stafford, 380). On the day he was shot down, my uncle was closely followed by another pilot called his wingman. The idea was that planes flying in pairs had a better chance of surviving in the disorientation of combat: The acrid smell of gunpowder filled their cockpits as...

CHASING MYTHICAL BEASTS: The Reception of Ancient Monsters in Children’s and Young Adults’ Culture by Katarzyna Marciniak

Reviewed by: CHASING MYTHICAL BEASTS: The Reception of Ancient Monsters in Children’s and Young Adults’ Culture by Katarzyna Marciniak Katarzyna Marciniak and Luisa Spang CHASING MYTHICAL BEASTS: The Reception of Ancient Monsters in Children’s and Young Adults’ Culture. Edited by Katarzyna Marciniak. Series: Studien zur europäischen Kinder- und Jugendliteratur/Studies in European Children’s and Young Adult Literature (SEKL); 8. Universitätsverlag Winter, 2020, 623 pages. ISBN: 978-3-8253-69995-8 Everyone encounters monsters in their childhood. They fascinate and terrify us, but some also become our friends. All of them, regardless of whether they are good or evil, have something to teach us. This is the argument of the essay collection Chasing Mythical Beasts: The Reception of Ancient Monsters in Children’s and Young Adults’ Culture, edited by Katarzyna Marciniak, which looks at monsters and beasts from Greek and Roman mythology and their reinterpretations in contemporary narratives for children and young adults. It analyzes their functions in these narratives as well as the way they are received by their audience. Its aim, as proclaimed by its editor, is “to offer some food for thought and encourage other researchers” (29). The collection brings together classical studies, theology, archaeology, anthropology, ethnography, media studies, and modern languages, and while its main focus lies on literature, it also includes essays on other media like film, animation, and comics. The works it discusses come, like its contributors, from different parts of the world and address various age groups. The content of the substantial volume is arranged into five parts and preceded by an introduction by Marciniak. In it, she offers a definition of (classical) monsters and gives an overview of the theory and practice of monster studies, or teratology. Part 1 of the collection is dedicated to the Minotaur, “the most famous monster of Greek mythology” (41). It comprises six essays analyzing the hybrid figure and its dual nature in various works, ranging from Nathaniel Hawthorne’s retellings of Greek myths for children, over other illustrated myth collections from the 1850s, contemporary British fiction for young adults, postmodern fantasy literature and film, to Matt Ottley’s multimedia picture-book Requiem for a Beast. Part 2 deals exclusively with female monsters, starting with Medusa, who is discussed in the first two essays: one looks at her relationship with Athena in Richard Woff’s Bright-Eyed Athena in the Stories of Ancient Greece, and the other analyzes how two popular teen novels use her as an analogy for stigmatized teenage girls. A third essay focuses on the Erinyes and their resuscitation in Philip Pullman’s Amber Spyglass, while the last two contributions in this section discuss the Sirens in Anna Czerwińska-Rydel’s Bałtycka syrena and in J. M. Barrie’s Peter Pan. Part 3 of the volume groups together “creatures of different kinds of equine component” (42), namely Pan, the centaurs, and Pegasus. Peter Pan is taken up again, now to investigate the figure of the Greek god, followed by two essays on centaurs: the first is interested in the centaur Cheiron, “the educator,” and his function in modern literature, whereas the second analyzes the reception of centaurs in Russian fairy tales. Finally, another two contributions [End Page 87] follow the trail of Pegasus through Polish children’s books from the 1960s and the 1980s and C. S. Lewis’s Chronicles of Narnia. The essays that make up part 4 are concerned with “the concept of monstrosity itself” (43), opening with an analysis of the beasts in N. D. Wilson’s Ashtown Burials. The two following contributions transport us to the African continent: the first describes mythical beasts in the oral tradition of Cameroon, while the second traces the wobo, a mythical creature from East Africa, in Henryk Sienkiewicz’s W pustyni i w puszczy and in its country of origin. Another article brings together marine monsters from Greek poetry and Carlo Collodi’s Pinocchio, followed by an essay on two Egyptian tales featuring fantastic creatures. Concluding this section are an analysis of the Wawel Dragon in Stanisław Pagaczewski’s tales for children and a discussion of J. K. Rowling’s fantastic beasts and their Greek heritage. Finally...