Mythical Objects Research Articles

Kajian Etnobotani Tumbuhan Cangkuang (Pandanus furcatus Roxb.) di Masyarakat Adat Kampung Pulo Garut

Ethnobotany Study of Cangkuang (Pandanus furcatus Roxb.) Plants in the Indigenous Peoples of Kampung Pulo Garut. Aims to determine the ethnobotany of Cangkuang plants through several studies, and to find out the percentage of growth strata, parts of organs used, and their utilization. The benefit of this research is to provide information on ethnobotany from various aspects of the study and to inspire the community to cultivate Cangkuang. The research method uses descriptive qualitative method, the method of work is carried out directly in the field and supported by interview respondents (semi-structural and open ended). Determination of respondents and data collection of plant samples using purposive sampling method. Based on research, observation and interviews, the botanical study of Cangkuang plants has an elongated taper leaf morphology, thory edges, has tap roots, no flower shape found. Ethnopharmacology, leaves and fruit as a medicine for diarrhea, dysentery, and antioxidants. Ethnolinguistics, Cangkuang is used as the name of a village, lake, temple and tourist park. Ethnoanthropology, the fruit has a myth as a repellent for spirits. Ethnoeconomics, the leaves are useful as household tools and food wrappers. Percentage of growth stages, 68 % seedlings, 16 % saplings, 9 % poles, and 7 % trees. The percentage of plant parts used, leaves 83% and fruit 17%. Percentage of plant utilization, 50 % medicine, 30 % of food wrappers, 17 % household appliances, and 3 % mythical object.

O. O. Potebnja’s scholar formation in the light of the discussion with P. O. Lavrovskij

The paper deals with the situation which emerged after the publication of O. O. Potebnja’s (A. A. Potebnya’s) work „On mythical significance of the rituals and the superstitions” (1865) where some problems of comparative mythological studies were examined. This work became an object of critical analysis accomplished by professor of Kharkov university P. O. Lavrovskij, Potebnja’s teacher, who wrote and published (1866) a voluminous critical review text (102 pages) in the genre of razbor „an analytical book review” which represented the reviewing traditions of the academic discourse in XIX c. O. O. Potebnja’s text which contains the replies to the critique of his teacher in the razbor remains as a whole still unpublished and is preserved as an archive document. In Potebnja studies it is conventionally named „The reply”. So the textual base for the analysis of this discussion includes three texts, two last of which are under consideration in the paper. The text of P. O. Lavrovskij’s razbor is notable for its extremely detailed analysis of Potebnja’s work with the use of rare sources, extra information from manuscripts, vocabularies, academic works on mythology, history and culture of different peoples, on linguistics and comparative studies. The text shows that P. O. Lavrovskij’s attention is directed mainly to the methodological aspect of Potebnja’s research: his critical remarks cover almost all methods of analysis, especially, the procedures dealing with establishment of identity or similarity of the mythical objects. Discussing with P. O. Lavrovskij O. O. Potebnja demonstrates an equal status to his opponent, his vast commentaries in the text of „The reply” correspond to the deep understanding of the nature of mythical space. His position in this textual discussion is marked by maturity of considerations and highly informative answers to his opponent. The author comes to the conclusion that the discussion represents the situation of methodological conflict, typical for the history of Slavic studies in XIX c., which nevertheless creates stimuli for elaborating methodological foundations in philological science.

An experimental approach to improve creative skills of Advertising design Students

The experimental approach is one of the recent trends adopted by the standards of the quality assurance and teaching system where it depends on considering that the expected outputs and skills to be acquired can only be achieved through practical experience. The experimental approach focuses on the necessity of analyzing educational systems into practical methods that develop students' intellectual and sensory skills in a positive way of learning and interacting with theoretical modes Which the teacher seeks to apply in modern scientific and technological methods, which requires setting future visions that help raise the indicators of the performance of teaching and learning methods. And from here the importance of virtual learning appeared in the teaching of advertising design where the learner involved in his learning that the learner is an active participant who conducts discussions, research and experimentation. As for the teacher, he is the mentor and guide for learning so that the situation is managed intelligently. Advertising design is a coherent system that works as one unit that is dealt with within the framework of a comprehensive view of all its stages Where the method of learning design depends on establishing the conceptual structure of specialization with the aim of developing the cognitive, creative, sensory and intellectual aspects of a student who is at the core of advertising, in addition to achieving targeted educational behaviors. Therefore, the research problem arises in how to activate the experimental approach in teaching the design of advertising to enrich and support the expected outputs and creative skills acquired by the student of advertising design. The research aims to apply the comprehensive quality standards for educational programs by activating the experimental curriculum as one of the educational curricula to develop the creative and intellectual skills of the advertising department student. The applied study tries to enhance the experimental approach to teaching advertising, and this is done through a project that was presented to students of the High Institute of Applied Arts - 6th of October City (a mythical object) where it 'leaves them free to choose graphic elements through (human element - plant element - animal component - Inanimate) to attract targeted recipients through Brainstorming sessions, in addition to visiting the printing presses to learn about printing technology and then reaching the results of the study, the most important of which is that the experimental approach works to develop the cognitive, creative, sensory and intellectual aspects of a student advertising designer, in addition to Achieve targeted educational behaviors

Against mythical backward-looking creationism

ABSTRACT I want to hold an original position as regards the metaphysics of mythical entities, a kind of fictional entities that, typically at least, are not recognised as such by their purported authors, for they entertain no relevant act of make-believe. This position is weak mythical creationism, which lies between straightforward mythical creationism, the position holding that all mythical entities are on a par by being created by their purported authors (Braun, David. 2005. “Empty Names, Fictional Names, Mythical Names.” Noûs 39: 596–631; Salmon, Nathan. 2002. “Mythical Objects.” In Meaning and Truth: Investigations in Philosophical Semantics, edited by J. K. Campbell, M. O’Rourke, and D. Shier, 105–123. New York: Seven Bridges Press; Zvolenszky, Zsofia. 2016. “Fictional Characters, Mythical Objects and the Phenomenon of Inadvertent Creation.” Res Philosophica 93: 311–333), and mythical anticreationism, for which mythical entities are no artefactual creations (Goodman, Jeffrey. 2014. “Creatures of Fiction, Objects of Myth.” Analysis 74: 35–40; Goodman, Jeffrey. 2017. “On Inadvertently Created a, Fictional Storytelling, and Scientific Hypothesizing.” Res Philosophica 94: 177–188). According to weak mythical creationism, one must draw a distinction between standard and nonstandard mythical entities, i.e. legendary entities and post-empirical posits. For unlike legendary entities, a post-empirical posit is an artefact created only later by an audience. Thus, weak creationism rejects the form of mythical backward-looking creationism that straightforward mythical creationism entails: namely, the idea that the merely purported authors of post-empirical posits are nevertheless their original creators.

English translations of the Japanese folkloremes in the English-language translations: cultural-cognitive asymmetry

The subject of this research is the linguocultural and cognitive aspects of the original Japanese folkloremes (names of fairy characters, mythical objects, and mythical animals) and their English correlates. The authors refer to folklore as a source of profound understanding of cultural connotation, cultural beliefs, cultural distinctness, traditions and customs. The methodological equivalence of linguistic and cultural-cognitive aspects of folkloremes is underlined. The goal of this work consists in determination of the formal and conceptual transformations of Japanese folkloremes in English translation of a Japanese tale. Folkloremes of a Japanese tale have not previously been an object of special research. Comparison of the text of Japanese folk tale and its English analogue demonstrates the cultural-cognitive asymmetry between Japanese folkloremes and their English correlates. Three types of Japanese folkloremes (unique; possessing distinct characteristics; and having cultural-specific associations) determine different techniques of their translation into the English language and various types of transformations of their conceptual content. Cognitive asymmetry of Japanese and Anglo-Saxon cultures substantiate the insufficient understanding and accentuation in English texts of the Japanese important cultural dominant – social and age hierarchism, as well as the enduring significance of image of the emperor and imperial power associated with this dominant.

“Einstein’s Brain” in Three Parts

Reflecting on Barthes’s dissection of the “mythical object” identified as Einstein’s brain, this article shows that the section of Mythologies entitled “Einstein’s Brain” not only occupies the mathematical center of the volume but also, splitting Einstein apart from himself, concludes with an abbreviated version of its general theory of myth. The article then extends Barthes’s inquiry in two directions: first, it examines three contemporary versions of Einstein (concerning his mind, his soul, and his brain, which was preserved and segmented into two-hundred-some parts immediately upon his death); second, it considers the relationship between the disposition of Einstein’s brain in the context of twenty-first-century neuroscience and the significance of Einstein’s brand in the context of cloud-based commercial culture.

MIĘDZY UPŁYWAJĄCYM CZASEM A WIECZNOŚCIĄ. MIŁOŚĆ BEZ JUTRA TADEUSZA GAJCEGO W ŚWIETLE ANTROPOLOGII GILBERTA DURANDA

Drawing inspiration from Gilbert Durand’s anthropology of the imaginary, the article offers an interpretation of Tadeusz Gajcy’s poem entitled Milośc bez jutra (Love without Tomorrow). It examines the paradigms of mythical time processed by imagination and the revival of images that have their roots in biblical cosmogony. Using the research method proposed by Durand, the author argues that the imaginary metaphorically transforms symbolic signs that are deeply rooted in history and culture, adjusting them to the personal situation of the dreaming speaker. In Milośc bez jutra the dream of carnal and spiritual fulfillment makes one experience time in relation to certain mythical objects, such as a plant, a book, or a chalice. The return to the mythical beginning, perceived as a refuge that guarantees spiritual revival, is associated with coming to terms with the inevitability of death. In this way, the palingenesis of eternal return (or, in other words, cosmic annihilation and rebirth) that is present in the Gajcy’s poem shapes the way of experiencing time. The author argues that the transformation and sacralization of mythical time in the poem are achieved through the image of a book (cloud) and a plant. Moreover, he shows that Gajcy’s allusions to the Genesis are intertwined with an apocalyptic vision in which various elements of the world are burnt, while the epiphanies of love and death are presented as a return to the state of original innocence and purity, experienced in symbolic projections.

Food not eaten: the dialectical image of food in Soviet animation of the Brezhnev era

This article analyses the allegorical representation of food in Soviet animated films of the Brezhnev era (1970s–1980s). Following the tradition of considering allegory as a mode of creative expression that becomes particularly prominent in times of social, political and cultural change, this article discusses the specificity of food objects in two animated films: Aleksandr Tatarskii’s The Plasticine Crow (1981) and Iurii Norshtein’s The Hedgehog in the Fog (1975). In both films, food objects are not consumed and demonstrate stability amidst major changes happening to the main characters and the imagery. The article concludes that on the plane of representation in animated films, the culture of shortages characteristic of the 1970s–1980s resulted in a situation when food lost its functional meaning and instead became the catalyst of transformations occurring in the plot. Such a representation of food makes it a mythical object which, when embedded into the allegorical environment of the animated imagery, produces a dialectical image. Its analysis contributes to an understanding of the Soviet social and cultural situation of the period.

Mistake is to Myth What Pretense is to Fiction: A Reply to Goodman

In this reply I defend Kripke’s creationist thesis for mythical objects (Reference and Existence, 2013) against Jeffrey Goodman’s counter-argument to the thesis (“Creatures of fiction, objects of myth”, Analysis, 74(1), 35–40, 2014). I argue that Goodman has mistaken the basis for when mythical abstracta are created. Contrary to Goodman I show that, as well as how, Kripke’s theory consistently retains the analogy between creation of mythical objects and creation of fictional objects, while also explaining in what way they differ.

Which witch is which? Exotic objects and intentional identity

This paper is about intentional identity, the phenomenon of intentional attitudes (beliefs, desires, etc.) having a common focus. I present an argument against an approach to explaining intentional identity, defended by Nathan Salmon, Terence Parsons and others, that involves positing exotic objects (e.g. mythical objects, merely possible objects or non-existent objects). For example, those who adopt this sort of view say that when two astronomers had beliefs about Vulcan, their attitudes had a common focus because there is an exotic (abstract, non-existent or merely possible) object that both of their beliefs were about. I argue that countenancing these exotic objects does not help us explain intentional identity.

Stressed Out by the Information and Communication Technologies of the 21 st Century

Human-computer relation and interaction have been areas of significant interest in the last decades. While computers are supposed to increase the physical, cognitive and communication capacities of their users their perception is still multifarious. For most of the users computers are either godsend helps that aid humans with difficult tasks, or mythical objects, which are to be obeyed and complied with. For the members of the latter group computers are a massive source of stress - technostress - in their daily life. Present paper, through the theories of stress, endeavours to search for the reasons of such attitude, and potential ways of amending or modulating it.

Fictional Characters, Mythical Objects, and the Phenomenon of Inadvertent Creation

Fictional Characters, Mythical Objects, and the Phenomenon of Inadvertent Creation

The sieve topology on the arithmetic site

The induced topology on the points of the Connes–Consani "arithmetic site," which are the finite adèle classes, is family coarse. In this note we define another topology on this set having properties one might expect of the mythical object [Formula: see text].

Creatures of fiction, objects of myth

Many who think that some abstracta are artefacts are fictional creationists, asserting that fictional characters are brought about by our activities. Kripke (1973), Salmon (1998, 2002), and Braun (2005) further embrace mythical creationism, claiming that certain entities that figure in false theories, such as phlogiston or Vulcan, are likewise abstracta produced by our intentional activities. I here argue that one may not reasonably take the metaphysical route travelled by the mythical creationist. Even if one holds that fictional characters are artefact one ought not further hold that mythical objects are, too.

Intentional identity and descriptions

What is the semantic contribution of anaphoric links in sentences like, ‘A physicist was late to the party. He brought some bongos’? A natural first thought is that the passage entails a wide-scope existential claim that there is something that both (i) was late to the party and (ii) brought some bongos. Intentional identity sentences are counter-examples to this natural thought applied to anaphora in general. Some have tried to rescue the thought and accommodate the counter-examples by positing mythical objects. I present a new intentional identity sentence that cannot be so accommodated. I then propose a new account of intentional identity and other anaphoric sentences that does not appeal to mythical objects, but instead draws on traditional accounts of definite descriptions.

Charlotte Perriand, Ball-Bearings, and Modernist Jewelry

Perriand's ball-bearings necklace was exhibited in 2009 at the exhibition Bijoux Art Deco et Avant Garde at the Musee Des Arts Decoratifs in Paris and, in 2011, in the show Charlotte Perriand 1903-99: From Photography to Interior Design at the Petit Palais. The necklace became, for a short period, synonymous with Perriand and with her championing of the machine aesthetic in the late 1920s and has subsequently attained the status of a mythical object and symbol of the machine age. This essay considers the necklace as an object and symbol in the context of modernist aesthetics. It also discusses its role in the formation of Perriand's identity in the late 1920s, when she was working with Le Corbusier, and aspects of gender and politics in the context of the wider modern movement.

'Being Good' at Maths: Fabricating Gender Subjectivity

Current research in mathematics education places emphasis on the analysis of men and women’s accounts about their life trajectories and choices for studying, working and developing a career that involves the learning and teaching of mathematics. Within this realm, the present study aims to highlight how mathematics, gender and subjectivity become interwoven by focusing the analysis on a single case study, that of Irene -a teacher in her early 40s. Based on how she articulates hegemonic discourses and narrates her relation to mathematics from the time she was a schoolgirl up till her recent work as teacher and her endeavours as participant in a professional development teacher training course, we argue how ‘mathematics’ becomes a mythical object for her subjectification. Irene as a female subject appropriates through her narrative the socially, culturally and historically constructed ideals about maths and gender and essentialises mathematical ability. Our study reveals how dominant discourses concerning ‘mathematics’ and ‘gender’ relate closely to subjectivity fabrication.

Salmon on Hob and Nob

Nathan Salmon appeals to his theory of mythical objects as part of an attempt to solve Geach’s Hob–Nob puzzle. In this paper I argue that, even if Salmon’s theory of mythical objects is correct, his attempt to solve the puzzle is unsuccessful. I also refute an original variant of his proposal. The discussion indicates that it is difficult (if not impossible) to devise a genuine solution to the puzzle that relies on mythical objects.

Cassirer’s Cultural Semiotics in Operation

Abstract In my paper, I will attempt to reiterate Cassirer's three stages of the development of the symbolic form, namely, mimetic, analogical, and symbolic, in the Peircean triad, which presents the emergent characteristic of the sign in the metamorphosis of the myth. This is to give a more specific representation of the transformation of the mythical object in the texts. Although there is no evidence of succession of Peircean semeiotics by Cassirer, the Peircean general law of sign can better explicate the metamorphic quality of Cassirer's theory of myth. Finally, I will explain how the specific "original object", plays an important and central role in the construction of the mythical worldview.

Rewriting the Journey in Contemporary Italian Literature: Figures of Subjectivity in Progress (review)

Reviewed by: Rewriting the Journey in Contemporary Italian Literature: Figures of Subjectivity in Progress Carmen M. Gomez Cinzia Sartini Blum . Rewriting the Journey in Contemporary Italian Literature: Figures of Subjectivity in Progress. Toronto: U of Toronto P, 2008. 381 pages. In her study of "subjectivity in progress" and its particular situation in female-authored and migrant literature, Cinzia Sartini Blum attempts to reshape the notion of subjectivity as an interactive, continuous practice that recognizes the productive tensions between conventional binaries, such as experience and theory, body and mind, familiar and foreign. Blum advocates a hybridization of identities that leads the contemporary literary subject beyond the impasse of postmodern discourse—founded upon ideologies that espouse "essentialist fictions of ethnocentrism, nationalism, and religious fundamentalism" (257)—and breathes new life into Italian literary production and criticism. Citing the fundamental interaction of body and mind through empathic relation and the vital connection between history and the written word, Blum highlights affectivity and memory as fundamental tools in opposing Eurocentric and phallogocentric ideals that traditionally dictate the canonization and margin-alization of literary, historical, and political subjectivities. Her analysis adopts both "topoi of the journey" and "wandering" as metaphors for the mobility of the mind, presenting historically peripheral "subjects" with the possibility of new beginnings in which figures of displacement and literary acts of mediation influence new literary and cultural subjectivities in motion. Blum's analysis of the marginal subjects of Italian literature and culture begins by investigating the so-called "End of the Journey": a "final point" in traditional literature and art that, after postmodernism, reaches an impasse in which history seems to have been "exhausted." The rhetorical end of the journey designates the point in which creativity no longer seems possible and artistic production is destined to mere deconstruction and revision. Blum rejects the "dead-end" perspective of the Western intellectual and the figure of the decentered, idle wanderer that seeks knowledge and escape only to realize the limitations of reason. The traditional, iconic traveler, as seen in Celati's "archaeologist" and Baudelaire's aimless flâneur, only succeeds in informing boundaries and creating them, distinguishing self from categorical Other. Alternatively, Blum appeals to affectivity and empathy as mechanisms for creating connections or "relational paths" between seemingly oppositional poles. Referencing Italo Calvino's ability to consider the complexity, relativity, and multifacetedness of reality in his attempt to interpret and guide historical processes, the author builds on the theories of prominent feminist scholars, including Adriana Cavarero and Rosi Braidotti, and advances a theory of subjectivity in progress that identifies and cultivates productive tensions in an "affect-driven process of negotiation." Blum's approach suggests fluidity and flexibility in the creation of modern subjects that question History yet remain adequately anchored to a historical position that allows for individual and collective responsibility. Blum introduces the figure of Gradiva as an artistic emblem of the "woman [End Page 1216] in motion" and her passage from subjugation to feminist icon. In her symbolic "journey," Gradiva transitions from Wilhelm Jensen's mythical object of male fantasy and the Freudian manifestation of a desire to master life and death through art, to the Surrealist icon of female unruliness and sexual transgression, only to be eventually revived in Cixous' powerful transfiguration of the "newly born woman." Gradiva rediviva, adopted by feminist discourse, advances a dialogic approach to understanding, representing a "relational mode of thought" in a practice of connection or mediation between dimensions. That which separates conflicting (male and female) scholarly interpretations of the figure of Gradiva is embedded in her conceptual transition: while Jensen and Freud's Gradiva subscribes to individual and subjective recognition by way of alienation and detachment—a claim to an autonomous, sovereign (male) subjectivity through the objectification of the Other—feminist interpretations of Gradiva point to female mobility as a means of reconnecting disparate poles, seeking alternatives to conventional dichotomies, and "thus bridging the gap between empiricism and representationalism, or the corporeality of the text and the textuality of the body" (82). The figure of the "third body" or "thinking body" in Blum's analysis highlights fundamental characteristics of Italian feminist theory and literature: first, the specifically Italian contribution to a discourse of sexual difference...