Mythical Symbols Research Articles

An Idle Heroine in Industrious Times: Elizabeth Stuart Phelps’ The Story of Avis

An Idle Heroine in Industrious Times: Elizabeth Stuart Phelps’ <i>The Story of Avis</i>

Our Time Is Now: Race and Modernity in Postcolonial Guatemala

Our Time Is Now: Race and Modernity in Postcolonial Guatemala

FEATURES OF ZOOMORPHISMS IN THE COMPARATIVE CONSTRUCTIONS OF THE ENGLISH, RUSSIAN AND KAZAKH LANGUAGES

This article is devoted to the analysis of zoomorphisms in the composition of comparative constructions and their comparison in different system languages. The article analyzes the most common examples of the use of zoomorphisms in comparative constructions of the English, Russian and Kazakh languages. For linguistic research, the analysis of zoomorphisms in comparative constructions and their comparison in languages of different systems seems to be very relevant. The mysterious nature of zoomorphisms has attracted more and more researchers over time. Zoolexics, which is brighter than any other area of language, reflects the peculiarities of comprehending extra-linguistic reality, when images and names of animals in different languages are projected onto a person. These images go back to the depths of human consciousness and beliefs. The names of animals projected onto humans are often associated with folk and mythical symbols. The roots of this phenomenon go far back in centuries, when tribes worshiped images of animal totems. Zoomorphisms are characterized as comparative expressives with diffuse semantics, i.e. they represent speech forms with double correlation: they link the spheres “animal” (as a function of origin) and “man” (as functional means of creating a characteristic). The study of zoomorphisms in various languages contributes to a vivid description of linguistic imagery, and in the comparative aspect of the study it makes it possible to identify typical associations, recognize and describe the national-cultural specifics of each language. Zoomorphisms in comparative constructions reveal the originality of the historical development of the people, spiritual culture, the peculiarities of everyday life, the specificity of the associative-figurative thinking of native speakers. Zoomorphisms as an object of research deserve special attention also because, obeying the laws of language, they form a specific subsystem, within which their own laws arise that require a special description.

Artistic Employment of Quranic Symbols in Modern Syrian Poetry

Modern poetry has paid attention to artistic symbols, due to the moral hoarding that these symbols carry, which in a brief phrase can refer to a long story or event that the text is not likely to include in its entirety. The symbol fulfills this function, which summarizes the pronunciation and satisfies the meaning. The study dealt with modern Syrian poetry in the first half of the twentieth century until before the free poetry and afterwards, and it was examined by poets such as Omar Abu Risha, Khalil Mardam, Muhammad al-Bazm, Omar Abu Qus and others. The research revealed the Qur’anic symbols that these poets used artistically, taking advantage of the semantic loads that refer to them. Prior to that, the research had drawn attention to the necessity of separating the Qur’anic symbols from the mythical symbols that tend to fiction rather than reality. Some researchers used to say that there are legends in the Qur’an and described some of its stories as myths, so it was necessary to point out the danger of this link that contradicts Islam and the Qur’an, which falsehood cannot approach it from before it or from behind it.

Mythical Symbols of Life, Death in Selected Poems by Daniel Moore

The purpose of this paper is to examine “myth” as a fundamental technique employed by Daniel Moore in his philosophical and mystic poems. It attempts to trace the history and importance of myth in literature and in poetry. Then the sources of myth and in Moore’s poems are investigated to examine the degree of development in his poems through the exploitation of myth. The paper attempts to discover how Moore has successfully managed to metamorphose the real world of his characters and their stories into a mythological counterpart seeking interpretations of such reality. It attempts to explore how Moore’s mythical symbols were varied with different tales and concerns. It also highlights the distinct philosophical attitudes towards famous issues such as life death and resurrection. This investigation shows that through the use of Greek, Roman and Elizabethan myths and symbols. For him, mythical symbols have become a sort of original language by which he could gain vision into human experience. Moore has employed symbols from nature such as “bees”, “snakes” and waves of rivers to raise philosophical ideas and problems. Moreover, nature has always kindled his imagination and excited his poetic inspiration. For Moore, myth, nature and poetry are interconnected. Therefore, a close reading of his poetry reveals a creative use of myth and nature in a mystic manner.يهدف هذا البحث إلي دراسة مصادر وأهمية کإستراتيجية أساسية استخدمها دانيال عبد الحي في قصائده الفلسفية والصوفية. من أجل القيام بذلک، حاولت الباحثة تتبع تاريخ وأهمية في الأدب والشعر. ثم رکزت على المصادر الرئيسية للأسطورة في قصائد لتدرس کيف طوع الأسطورة في أعماله لإيصال فکره للمتلقي. تحاول الباحثة اکتشاف کيف نجح مور في تحويل العالم الحقيقي لشخصياته إلى نظير أسطوري يبحث من خلاله عن تفسيرات لمثل هذا الواقع. تحاول الدراسة أيضا استکشاف کيف کانت أساطير متنوعة ولها حکايات وإسقاطات مختلفة. کما يسلط البحث الضوء على المواقف الفلسفية المتميزة تجاه القضايا العامة مثل الحياة، الموت والقيامة. يوضح هذا البحث أنه من خلال استخدام الأساطير والرموز اليونانية والرومانية القديمة ، تمکن مور من إنتاج قدر کبير من الشعر الصوفي بإبداع. بالنسبة له، أصبحت الأسطورة الکلاسيکية نوعا من اللغة الأصلية التي يمکنه من خلالها اکتساب رؤية و خبرة في تفسير التجربة الإنسانية. علاوة على ذلک، استقي من رموز الطبيعة مصدر أسطوري لأفکاره الفلسفية مثل النحل، الثعابين وأمواج البحر، لطالما أوقدت ​​الطبيعة وصورها المتنوعة خياله وأثارت إلهامه الشعري. حاول استکشاف مصادر الأسطورة الکلاسيکية للتعبير عن الصراع البشري والنضال نحو الخلاص. بالنسبة لمور، الأسطورة والطبيعة والشعر کيان واحد لا يتجزأ. لذلک، تکشف القراءة المتأنية لشعره عن الاستخدام الخلاق للأسطورة والطبيعة بطريقة مبدعة.

Mythical Aspects of the Cane of Moses in Persian Exegeses

The stories and parables that we see in Quran have a logical course but our Persian exegetical texts are full of appendices which have become combined with myth. In Quran, the word “myths” is of a negative content but the reality is that human mind tends to add to the significance of the event by exaggeration and empowerment of the persons and objects. The story of Moses in Quran is one of the most extensive stories and his cane is capable of turning to a mythical symbol. Thus, this essay studies the mythocentric approach of it in four Persian exegeses.

“To Struggle Against the Tree of Life”: Reading Bonhoeffer’s Creation and Fall in the Anthropocene

ABSTRACT Bonhoeffer’s Creation and Fall guides readers through a “theological” exegesis of Genesis chapters 1–3 and was an early manifestation of the “German Church Struggle” (Kirchenkampf) against National Socialism. In this paper, I propose a re-reading of Creation and Fall attentive to contemporary environmental and political conditions. Drawing on the work of William E. Connolly, I outline points of affirmation, critique, and supplementation. Just as Bonhoeffer recognized the need for a “crisis theology” in the face of Nazism, so now global warming and the rise of “aspirational fascism” demands analogous efforts. I argue that Bonhoeffer’s focus on biblical myth as a counter to fascist myth, his articulation of a relational ontology and embrace of “incarnational humanism,” are all relevant to the task of Christian political theology today. There is a need, however, to transcend Bonhoeffer’s anthropocentric bias, supplementing his readings of Eden’s mythic symbols to encourage forms of “entangled humanism” that are essential to Creation’s defence.

Bahasa Mantra Sasak Tinjuan Makna Asosiatif

This study describes and explains in detail the linguistic meaning of the Sasak mantra, the function of the mantra, and the text structure of the Sasak mantra. The meaning of the mantra is also related to the culture that exists in the area that is the location of the research. The method used in this study is a descriptive qualitative method and ethnographic method. wind, jelo, full moon, sea, gumi, sky, and betu are used to produce a strong suggestion. (2) plant symbols, namely angn, apuh, buaq, mako, glemper, shoots, tojang, paoq kayuk, and flower are used to cause the suggestion of attractiveness. (3) animal symbols, namely yellow kecial, jaran guying, kolo, ptuk and propeller. The term 'kecial kuning' is used to give rise to suggestion of attractiveness, the term jaran guyang has the effect of suggesting strength. The term kolo, ptuk, balang has the effect of suggesting damage. (4) mythical symbols, namely the terms bidederi-bidedere, mas bejeboh, mentinggang mentang, crazy singang, betara guru, betara lenjang, and goldfish. Bidederi-bidedere is used to cause the effects of beauty suggestion. Mas Bejeboh authority. Singgang mentune, singang crazy, betara guru is used to cause suggestions of the authorities of the springs. Betara levels are used to cause the suggestion of the ruler of the rain. (5) Islamic religious symbols, namely basmlah, creed, kun fayakun, Prophet Muhammad, alif, Allah, prophet David, prophet Sulaiman, Syaidina Ali, Assalamu, Prophet Allah Adam, Jibrail, Fatimah-Fatimah. The existence of a term in Islamic religious signifies the language of the mantra that the people of Lombok are very religious and believe that chosen beings such as prophets, guardians, angels, prophet's friends can be used as mediators in asking for something.

تجليات الموروث في ديوان ( نصوص شرقية ) لعبد الوهاب البياتي

Heritage reflects peoples' memory and essence of nations. Thus, this divan was really the material and tool for writers in general and poets in specific both in their artificial innovations . Accordingly, modern writers have endeavored to bring heritage back in all its details and occurrences. Abdullwahab Al-Bayati's experience had reflected his innovative and strong link with the humanitarian heritage, in that heritage in view of Al-Bayati means both the humanitarian expertise and gains that are able to extend from past to future passing through the present.From this, the poet had not disconnected his strong link with the Arab poetic heritage .Thus, the poet had utilized the Arab poetic heritage in expressing on the Arab contrary reality especially in his last poetic divan ( Poetic Texts ) which included poetic texts expressed his dialogues with the heritage symbols and characters ,one of them is Abualallaa Al-Maa'arri , Hafidh Sherazzi , Abu Tammam , Ibn Arabi , and others , as well as mythical symbols, particularly Aisha ( Forouzendah ) in that this universal symbol had dominated Al-Bayati in most collections of poems .This symbol , Aisha ( Forouzendah ) , denotes renewed love or a unified universal power , or as Al-Bayati states about this character as the subjective and collective symbol of love that is unified in one unified soul of existence . In addition, his last poetic divan had linked with many spatial spaces such as Makkah, Damascus , Baghdad , Hawran , Tadmmur , and Bukharah .

Heritage in Abdul Wahab Al-Bayati's Divan Collection of Poems: Oriental Texts

Heritage reflects peoples' memory and essence of nations. Thus, this divan was really the material and tool for writers in general and poets in specific both in their artificial innovations . Accordingly, modern writers have endeavored to bring heritage back in all its details and occurrences. Abdullwahab Al-Bayati's experience had reflected his innovative and strong link with the humanitarian heritage, in that heritage in view of Al-Bayati means both the humanitarian expertise and gains that are able to extend from past to future passing through the present.From this, the poet had not disconnected his strong link with the Arab poetic heritage .Thus, the poet had utilized the Arab poetic heritage in expressing on the Arab contrary reality especially in his last poetic divan ( Poetic Texts ) which included poetic texts expressed his dialogues with the heritage symbols and characters ,one of them is Abualallaa Al-Maa'arri , Hafidh Sherazzi , Abu Tammam , Ibn Arabi , and others , as well as mythical symbols, particularly Aisha ( Forouzendah ) in that this universal symbol had dominated Al-Bayati in most collections of poems .This symbol , Aisha ( Forouzendah ) , denotes renewed love or a unified universal power , or as Al-Bayati states about this character as the subjective and collective symbol of love that is unified in one unified soul of existence . In addition, his last poetic divan had linked with many spatial spaces such as Makkah, Damascus , Baghdad , Hawran , Tadmmur , and Bukharah .

The Explication of Mythology and Ecology in Eliot’s The Waste Land

Eliot’s The Waste Land worries the twentieth-century Anglo-American culture to uncover the distance of the modern Western countries from the natural world, close to anxiety. However complicated desire to be re-cooperative with natural powers. The poem’s dry universe of broken and scattered images mirrors the divided condition of the urbanized soul and its desacralized condition. Eliot realized the spiritual malaise of the modern period humans underwent and the estrangement of the human mind from the natural world. Examining the curtial images in the poem demonstrates Eliot’s modernist feeling of anxiety that foretells much about eco-critical argument concerning mythic symbols in the poem.

The Schizoid Border in the Construction of Ethno-Nationalist Body

It is usually believed that nationalism uses mythical pre-modern symbols to generate collective intolerance. This is true to a large extent, but, at the same time, in former Yugoslavia, ethno-nationalism results from the process of transition from the real-communist to the liberal way of thinking. Ethno-nationalism—as an alternative to capitalist atomising individualism—accepted all the principles of transitional logic and destroyed the social system. The logic of ethno-nationalism, therefore, functions as a schizoid system that, on the one hand, advocates family and community values, while on the other destroys and atomises the family through rampant capitalism. Relying on the social analysis of Slavoj Žižek, this article focuses on the way in which the schizoid social logic of ethno-nationalism is ingrained in turbofolk songs. The problem of ethno-nationalism is that it should negate hybridism, but turbofolk relies on hybridism and mixing codes. Consequently, while ethno-nationalism negates and rejects all that represents other cultures and nations it glorifies its own collective national body, which, strives to be isolated, self-sufficient, and insular in its own identity. Paradoxically this glorification occurs in a specific manner, through hybrid cultural form, that is, through turbofolk music.

Mythical Symbols in the Poetry of Ismail Kadare

Mythology, in the poetry of Kadare, is quite present. It is presented as a special theme, which reveals not only the poetic but also philosophical ideas of Kadare. As such, mythical topography in Kadare's poetry is not only presented in various forms, but also presented with numerous mythological figures, especially from ancient Greek mythology, and also from Albanian mythology. Being present in poetry of Kadare, mythical topics are always in the function of comparing with contemporarily, taking the examples of mythological figures and heroes, but their places, not rarely implied as influential or comparable elements: mythical heroes with personalities from contemporary; their actions with the events and actions of modernity, and the ancient places with today's countries, either as patriotic or enemy countries.

중국 ‘황제黃帝’ 신화와 의례의 상관성에 관한 연구(2) : 근대 이후부터 ‘신중국’ 성립 이전 시기를 중심으로

This study focuses how the ritual had enforced the mythic symbol of Huangdi, the Yellow Emperior. To clarify this, it necessary to closely examine how the ritual of Huangdi had been celebrated and by whom; however it also should be considered which political and cultural functions the ritual had performed. Since the ritual of Huangdi appeared in varying forms, depending on its characteristics and the history of each period, it also involved a process of Selection and Exclusion through the ideologies of these periods.BR The study examines what symbols of Huangdi had been presented by the rituals of each political group from the Revolution of 1911 to the period of the founding of New China. During this period, new political powers such as Revolutionary forces, the Guomintang (KMT) or the Communist Party of China used Huangdi as a means of proving their legitimacy. As might be expected, they gave the symbolism of ‘the ancestor of the nation’ to Huangdi. This was intended to overcome a national crisis of the Anti-Japanese War period by unifying people. Upon closer examination, however, the Guomintang emphasized the Great Unity while the Communist Party of China emphasized a nation. This demonstrates that the ritual of Huangdi had a significant correlation with each political purpose of the different political powers.

Is Dr. Frankenstein Still Alive? From Twix to Apple: Commercializing Monstrosity

Abstract Contemporary popular culture uses mythical and cultural symbols like monsters as metaphors in order to analyse and shape society and its trends. A perfect example is Frankenstein’s creature, who is a modern monster able to embody human crisis, desires, and fears about self-identity, inclusiveness and social recognition. In particular, in the field of advertising, the use of monsters sets new boundaries between human society and monstrousness. Indeed, advertising acts as a modern Dr Frankenstein by manipulating and determining who the modern monsters are.

Stepdaughters of History: Southern Women and the American Civil War by Catherine Clinton

Reviewed by: Stepdaughters of History: Southern Women and the American Civil War by Catherine Clinton Angela Esco Elder Stepdaughters of History: Southern Women and the American Civil War. By Catherine Clinton. Walter Lynwood Fleming Lectures in Southern History. ( Baton Rouge: Louisiana State University Press, 2016. Pp. xx, 144. $27.50, ISBN 978-0-8071-6457-0.) When Catherine Clinton received an invitation to deliver the seventy-third annual Walter Lynwood Fleming Lectures in Southern History at Louisiana State University, she was in the midst of several projects. Faced with the prospect of choosing just one to share, she ultimately decided that since "there was just the slightest hint that I might want to offer lectures on the topic of women … how could I resist revisiting the topic of southern women and the Civil War?" (p. xiii). This book is not simply the product of those lectures; it is also the result of a lifetime of research and thought on the topic and reveals a wartime female experience that was anything but monolithic. "I believe in taking every opportunity to afford women a platform, a place at the table—even if we don't like the menu," writes Clinton in her preface, warning that the book to come is not simply a reflection on the state of the field (p. xvii). The first chapter focuses on elite white women, the "band of sisters" who sacrificed for the Confederate war effort, wrote their way through the war, and often embraced blind patriotism (p. xv). Clinton traces the wartime experiences and writings of familiar nineteenth-century names including Mary Boykin Chesnut, Winnie Davis, Louisa McCord, Sarah Morgan, Sallie Pickett, Kate Stone, and Augusta Jane Evans Wilson. Clinton maintains that "the blood of the lash could not be whitewashed away by even the most eloquent of memoirists, and yet the band of sisters would die trying" (p. 39). In her next chapter Clinton turns to "impermissible patriots," white women defined by "their defiance rather than their accomplishments" (p. 41). These women tested gender norms and challenged societal expectations even as they expressed deep loyalty to the Confederacy. A driving force in this chapter is Loreta Janeta Velazquez, a woman who published a memoir claiming she fought as a Confederate officer, and historians' mixed treatment of her tale. This chapter is particularly thought provoking as Clinton manages to tie topics like the need for research on nineteenth-century dress reform to recent gendered language about Hillary Clinton and pantsuits. "Whatever their political and personal agendas," Catherine Clinton concludes, "scholars might reframe and recast Confederate women's defiant careers in more balanced terms, in order to recognize women who seized the opportunity to serve their country" (p. 74). The final chapter analyzes the history and implications of "Mammy," a "carefully cultivated" image replacing the real African American women who fought for and redefined freedom (p. 100). Clinton argues, "African American women have been absent not only from historical accounts of the Civil War but from any appreciation of its legacy for black women and the incredible transformations wrought" (p. 84). In addition to discussing the debate over which woman should appear on the twenty-dollar bill, vintage racist collectibles, the use of the term Mammy in Ireland, and the #SayHerName Twitter [End Page 990] campaign, this chapter studies the conflict between recognizing black women as historical actors and addressing "the mythical symbols of black womanhood whites have projected" (p. 93). Clinton cautions scholars against "replacing a caricature with an emblem" by creating historical work that presents "emancipated slaves as indefatigable heroes" without human flaw (p. 102). Clinton's writing is accessible and conversational, challenging readers with admonishments like, "We must not hold women in the past hostage to historical standards that keep them in the sidebars and footnotes, only including those who achieve status 'within a man's world'" (p. xviii). At under 150 pages this book is by no means exhaustive, though the footnotes offer a fairly comprehensive map of where this field stands. Clinton reminds us of the significant work that has been done as well as the significant work that remains to be done in original research, textbook publications, and college lectures. Those...

Percepción rusa de los símbolos universales y etno-específicos actualizados en el contexto de las novelas de Gabriel García Márquez

This article aims at sharing personal reflections on the Russian perception of the most important and dominant key symbols in the Latin-American world vision reflected in the literary universe created by Gabriel Garcia Marquez. We appreciate and recognize the specificity of the symbols in the best way by comparison with those of other nations. Therefore, to detect and clarify the ethnic-cultural specificity/universality of words-symbols we have used the methodology of comparative and cognitive analysis. Multiple mythical symbols abound in human verbal awareness in general and in the ethnic one in particular having a huge creative potential.

Style and Genre Aspects of Kazym Khanty Bear Festival Songs

The bear festival of the Kazym Khanty represents a multicomponent cultural and religious phenomenon, featuring key ritual and mythic symbols of the Khanty world, closely correlated to the richest level of Ob’-Ugrian musical depth. Relevant literature encompasses significant works by ethnographers, musicologists, and culturologists from the eighteenth through nineteenth centuries. Nevertheless, the style and genre aspects of analyzing ritual bear-honoring songs of the Kazym Khanty has been insufficiently studied. The article explores the genre and musical component of the bear festival as a unified traditional culture conceptual text. Classification of the ritual songs requires studying the rite’s dramaturgy, integrated structurally. The ritual bear complex and its actions can be structurally analyzed according to genre and by ethnic group. Theoretical interpretation and musical style typology can be derived using a hierarchy of Kazym Khanty bear songs. Aleatoric principles [from Latin, aleatorius or playful] pertain to songs within a genre group in a specific order, as in the preliminary moments of a shamanic séance, thus indicating the musical structure of the bear festival in each concrete situation.Homogeneity characterizes melodies that are sacral and profane. The entire rite forms a stylistic series: sequential (a horizontal axis, within phrases, genre groups and songs), and diachronic (a multi-temporal vertical axis). Intonation enables a unified environment that integrates song arrangement. The bear festival is therefore envisioned as a style and genre system.

D. H. LAWRENCE’S USAGE OF ARCHETYPES IN LADY CHATTERLEY’S LOVER

ABSTRACT The present analysis is intended to shed some light on D. H. Lawrence’s use of myth, recurrent mythical images and archetypal patterns in his work, Lady Chatterley’s Lover. This study analyses D. H. Lawrence’s archetypal images making particular references to his work. The study is confined to the functions and significance of the mythical images and archetypal patterns represented in the aforementioned work. D. H. Lawrence tried to reflect the insecurity and rootlessness of modern life through archetypes; he showed modern man who has become alienated from himself and nature. The method used is archetypal criticism; it deals with archetypes which are primordial images perceived across cultures, inherited from time immemorial, issuing from a ‘collective unconscious’. An archetype is a mythic symbol, which is deeply rooted in the unconscious, more broadly based on a foundation of universal nature than an ordinary literary symbol, and is more generally expressive of the elemental in man and nature.

“Everything in me Lies”

In Sam Shepard's plays, America is full of traditional and mythical symbols. He uses these emblems in order to subvert their meanings and manifest the discrepancies between characters’ living in the West and the realities they confront. In his play, A Lie of the Mind, Sam Shepard reflects on the traditional meanings of myth and the erasure of them in the postmodern societies. Furthermore, the postmodern universe in these three plays is bombarded with representation and distortions of reality, and hyperreality which make reality be masked and obscure. The characters enter in simulations of reality after accepting the fact that the true reality doesn’t exist. As a matter of fact, myths are not real; they are simulations of the past myths. Media with its glamorous and captivating power is of the most influential mediums in constructing the hyper real.