This article reexamines one of Rabbi Nachman of Breslov’s central tales, “The Clever Man and the Simple Man,” through three intertwined foundations that shaped its composition: the Hasidic valorization of the sincere simple person, the story of the Sockmaker in Shivhei ha-Besht, and the myth of Enoch the Shoemaker who became the angel Metatron. While previous scholarship has interpreted the tale primarily as an internal spiritual struggle between intellect and faith, this study argues that the deeper architecture of the story is rooted in these narrative and mythic traditions, which Rabbi Nachman reshapes in order to formulate a new ideal of simplicity. The article demonstrates that the Simple Man—far from the naïve or ignorant figure of folkloric tradition—embodies conscious simplicity, characterized by integrity, inner contentment, and an unmediated orientation toward reality. The analysis further shows how Rabbi Nachman develops the Hasidic tradition that transforms the Enoch myth from a model of mystical theurgy into a paradigm of sanctifying ordinary life through wholehearted presence and trust. In its final section, the article situates the tale within Rabbi Nachman’s broader struggle against the emerging modern spirit. It argues that the story offers a unique understanding of the dangers inherent in Enlightenment and modernity: the root of heresy lies not in intellectual inquiry or philosophical doubt, but in a modern way of life defined by restlessness, dissatisfaction, and a destabilized existential orientation. From this perspective, Rabbi Nachman presents the figure of the Simple Man as the path by which a person “walks with God,” and as a profound response to the spiritual challenges posed by modernity and secularization.

Theatre has long served as a medium through which religious ideas are expressed, often by staging traditional myths and doctrines tied to institutional belief systems. This connection between theatre and religion has been well-documented in multiple scholarly discourses. More recently, scholars have also explored how certain performances evoke spiritual experiences through theatrical staging. However, contemporary research on aesthetic-religious experiences in performance tends to avoid the term «religious theatre» unless the work is explicitly connected to organized religion and communal belief. This article challenges that limitation by examining The Disorder of Desire (2022) and Einkvan (2024), two Norwegian performances that operate outside conventional religious frameworks. Drawing on a broader definition of religion as engagement with narrative worlds involving superhuman forces, and using the concept of immanent transcendence, the analysis explores how these works construct religious meaning and offer audiences experiences that may be understood as religious in nature. The aim is to propose a more inclusive understanding of «religious theatre»—one that reflects contemporary shifts in the study of religion and aesthetics.

Physical activity is a complex, multifactorial behavior that brings multiple physiological and psychological benefits. Therefore, it is relevant to explore the factors that influence its practice during adolescence, a key stage in development. The aim of this study is to analyze the relationship between physical activity, general intelligence, personality traits, and gender in adolescents, with special attention to high intellectual abilities. The sample consists of 369 students between 13 and 17 years old from four secondary schools on the island of Tenerife. LA INFLUENCIA DE LA INTELIGENCIA, EL GÉNERO Y LA PERSONALIDAD EN LA PRÁCTICA DE ACTIVIDAD FÍSICALópez, Sánchez y Borges104(2025) 11(23)Three instruments were used for the assessment: the PAQ-A to measure physical activity, the Herranz general intelligence test, and the OPERAS personality scale based on the Big Five model. In addition, open-ended questions were included to explore personal motivations. The results show a significant, although weak, relationship between intelligence and physical activity. However, relevant associations were observed with the traits of extraversion and conscientiousness, as well as significant gender differences. The qualitative analysis, conducted through IRAMUTEQ, extracted five classes related to attitudes toward physical activity: emotional disconnection, health, personal barriers, enjoyment, and emotional well-being. These findings highlight the contribution of cognitive, psychological, and sociodemographic factors to physical activity levels and allow traditional myths about adolescents with high abilities to be questioned, showing that they constitute a diverse and non-homogeneous group.

This article examines the transformation of Balkan vampire folklore, particularly revenant figures such as the “strigoi” and “vampire” within contemporary digital environments. Based on immersive fieldwork in Romania and Serbia, the study explores how myths that once served as communal tools for processing grief, fear, and survival are now mediated through memes, movie tropes, and algorithmic fragments. Drawing on Jungian archetypes, digital folklore theory, and public history frameworks, the research traces the tension between cultural preservation and commodification. While online platforms offer new avenues for storytelling, they risk flattening the emotional depth and communal voice of traditional myth. This study argues for a more intentional engagement with folklore in the digital age, one that honors ancestral narratives while recognizing their evolving role in shaping identity, memory, and intergenerational transmission.

The legend of al-Dahhāk represents one of the most complex mythological narratives transmitted through both Persian and Arabic Islamic historiography. Rooted in pre-Islamic mythic traditions, this figure has been reinterpreted by Muslim historians to reflect evolving cultural, political, and theological contexts. This study aims to analyze the historical and intellectual dimensions of the al-Dahhāk narrative through a comparative examination of Persian and Arabic Islamic sources. Employing a historical-analytical comparative method, the research draws upon early primary sources such as al-Ṭabarī, al-Masʿūdī, al-Bīrūnī, and Firdawsī’s Shāhnāmah, alongside the Avesta as a pre-Islamic reference text. The analysis reveals significant divergences between Arabic and Persian accounts regarding al-Dahhāk’s origin, identity, and geography. While Arabic sources often associate him with Yemen or Babylon, Persian traditions depict him as a tyrant linked to the ancient Iranian dynasties. The study argues that al-Dahhāk symbolizes not a single historical individual but a dynastic archetype—possibly representing the Assyrian Empire—whose reign embodies tyranny and decline. By reinterpreting myth through historical critique, this research contributes to a deeper understanding of how Islamic historiography assimilated mythic structures from Persian and Mesopotamian traditions, illuminating the interplay between history, legend, and identity in the early Islamic intellectual heritage.

Recreation, the process of restaging or reenacting existing narratives, is employed in literature to portray historical and mythical figures, including Yorùbá gods and goddesses. While existing scholarship on these deities has largely concentrated on their origins, characteristics, and worship practices, it often overlooks how they are reimagined and recreated in various literary works. This paper investigates the recreation of O̩ya in Akinwumi Isola’s Belly Bellows to examine the theogonic myths surrounding this goddess and analyze how she is depicted in the text. Our findings indicate that traditional theogonic myths present O̩ya as a beautiful woman married to O̩gún before leaving him for S̩àngó, without explaining the reasons for her decision. In contrast, Isola’s recreated text elucidates the motivations behind her actions, establishing connections with contemporary societal issues. Furthermore, both the theogonic myths and Isola’s text portray O̩ya as a primordial deity, though certain recreated narratives depict her as a human before her deification. This study adopts intertextuality theory as its theoretical framework to explore the relationship between traditional myths and their literary reinterpretation.

In a competitive marketplace, consumer perceptions of brands encompass not only ‎functionality and quality but also important cultural narratives and mythologies. ‎This research examines the relationship among cultural mythology, collective ‎memory, and branding, highlighting the impact of traditional myths and symbolic ‎associations on consumer choices, loyalty, and perceptions of brand authenticity. ‎This study analyzes the utilization of mythological characteristics, including ‎archetypes, heroes, rituals, and nostalgia, by brands to shape consumer perceptions ‎and enhance market resonance, based on cultural semiotics and consumer ‎psychology.‎ A standardized questionnaire was distributed to a sample of 180 respondents from ‎urban and semi-urban areas, encompassing various age groups, genders, and ‎educational backgrounds. A quantitative analysis was performed on demographic ‎data and responses to 21 closed-ended questions to identify trends and correlations ‎associated with mythology-infused branding. The findings indicate that consumers ‎unconsciously associate brand narratives with cultural myths, and brands that align ‎with established mythic frameworks generally improve emotional attachment and ‎brand recall.‎ Generational memory and regional culture significantly influence brand ‎perceptions, indicating that effective branding strategies must incorporate cultural ‎context. This study contributes to marketing literature by clarifying the role of ‎symbolic communication and cultural storytelling in promoting consumer ‎engagement and preference‎.

Abstract The paper intends to look at the prevalent discourses in Chhau dance of Purulia to locate the issues of gender in a dance traditionally considered masculine. The dance is characterized by its drawing of thematic resources from the mythical tradition of Hindu religion and the usage of elaborate and decorative masks to represent particular characters. Purulia Chhau is traditionally performed by male-dancers and as a result, representation of female characters is carried out through female impersonation and semiotic negotiation of costumes, makeup, and particular usage of masks. The prevailing masculinist sentiment is bolstered by the propagation of acrobacy and vigorousness as the sole ‘essence’ of the dance. Such a discursive trajectory mantles the so-called ‘feminine’ aspect of the dance: the display of pathos, delicacy in movement and the existence of non-heroic performances. The paper, while exploring the ‘femininity’ of the dance, will delve into a critical engagement of gender, femininity, and female impersonation in the context of Indian performative traditions and the construction of Indian womanhood within a nationalist rhetoric. Moreover, while trying to locate Purulia Chhau within the aforementioned discussion, the present study will also address the moments of critical departure by which several performances of Purulia Chhau problematize the universal assumptions and discourses of gender and performance. Finally, the study will also discuss how the recent introduction of female performers in Purulia Chhau poses a critique to the ‘authentic’ narrative of the dance form nourished by masculine perspectives. The paper will rely on ethnography as a method for this study and thus will incline towards firsthand knowledge gained through fieldwork and interviews of Purulia Chhau artists.

The article outlines the problem of research into the development of Greek mythology from individual ancient mythical tales to contemporary textbooks on Greek myths, such as Jan Parandowski’s book (Lviv 1924). The aim is to draw attention to the following questions: How did the collection of stories that we now call ‘Greek mythology’ come into being? What path did mythical plots take in antiquity, and between antiquity and the present day before they became the ‘Greek mythology’ we know today? Was the phenomenon of ‘mythology’ as a collection already known in antiquity? The second part of the paper points to the limitations of our concept of mythology and considers several specific cases that highlight the difficulties of reconstructing the ancient mythical tradition. The last part of the analysis examines Jan Parandowski’s work as the author of the most famous “Mythology”.

This study aims to explore the meaning of single fatherhood in the film Fatherhood directed by Paul Weitz through Roland Barthes' semiotic approach. The film was chosen because it represents a shift in gender roles in parenting and portrays the social construction of the father figure in media. This research employs a qualitative method by observing key visual and verbal scenes in the film. The analysis uses Roland Barthes' semiotic framework, which includes three levels of meaning: denotation, connotation, and myth. The findings reveal that the character Matt, as a single father, is portrayed not only as a provider of physical needs but also as an emotional caregiver who is loving and responsible. The film breaks traditional myths about masculinity and gender roles in families, and builds a new narrative that fathers are also capable of fulfilling the dual role of a complete parent. This study recommends the importance of fair and inclusive media representations of modern family dynamics and emphasizes that parenting should not be confined to one gender. Keywords: single father, parenting, Fatherhood film, semiotics, Roland Barthes

This study aims to explore the aesthetic evolution of Chinese animation in cultural identity, focusing on two representative works, Havoc in Heaven and Nezha, and analyzing how Chinese animation promotes the construction of cultural identity and the dissemination of Chinese culture through the evolution of aesthetic style and the excavation of cultural connotation. The study adopts literature analysis, case study and comparative analysis, combining the visual art, narrative structure, character design and cultural elements of the two films to analyze their contributions in aesthetic innovation and cultural identity. The results show that Havoc in Heaven has laid the foundation for the cultural identity of Chinese animation through the integration of traditional ink painting style and opera elements, and successfully conveyed the core values of Chinese traditional culture. Nezha, while inheriting tradition, innovates, combines modern social values, recreates traditional myths, and shows the aesthetic breakthrough and deepening of cultural identity of Chinese animation in the new era. The research concludes that, driven by the dual promotion of aesthetic evolution and cultural identity, Chinese animation has not only improved the cultural literacy of domestic and foreign audiences, but also enhanced the global influence of Chinese culture. In the future, with the advancement of technological innovation and cultural integration, Chinese animation will occupy a more important position in global cultural exchanges.

This study analyzes the role and position of women in the Makassar Bugis society and how the understanding of women's socio-cultural position can be an entry point for contextual gospel preaching. The results of the study show that Makassar Bugis women have a respectable position and a significant role in various aspects of life, including religious rituals, family decision-making, and the preservation of cultural values. This important role is rooted in traditional myths that are still firmly held today. The contextualization of the proclamation of the gospel can be done by utilizing women's strategic position in society, transforming their ritual role into ecclesiastical ministry, and developing an approach that respects local cultural values while affirming the truth of the Gospel.

Ancient cities often adopted elaborated foundation myths to define civic identities. In accordance with the well-known Greek tradition, many Cilician cities claimed to have been founded by Greek gods or heroes. But some other, regardless of their strong Classical and Hellenistic tradition, looked to further references, which were closely linked to indigenous religious traditions (such as, for instance, Mopsos or Sandan). This means that, from a historical and political perspective, not all the Hellenised cities of Cilicia needed or wanted to define their identity through a pure Greek foundation myth. As far as Rome’s foundation myths, few attestations are known, almost all of which connected with Roman colonies or with the main cities of the region, Tarsos and Anazarbos. This paper aims at a re-assessment and an overview of various sources – written sources, inscriptions, numismatic evidence and, when possible, archaeological information – with the aim of delineating how this process affected the cities of Hellenistic and Roman Cilicia. We will try to understand how and why Cilician cities decided to revive ancient mythical traditions, or to create new mythical points of reference. Final aim is trying to delineate possible cultural trends or, as an alternative, original solutions in the choices of urban and civic self-propaganda.

The aim is to investigate the mythical foundation of Heraclea, based on the few sources known to us. A complex and articulated picture will be outlined, which, however, will demonstrate how the polis managed to obtain a prominent place in the Greek mythical tradition.

The paper explores the protagonist's journey toward individuation in Orhan Pamuk’s The Red-Haired Woman through the perspectives of Jung’s theories of archetypes and the collective unconscious. It demonstrates how mythic structures continue to influence human attitudes and identity in contemporary society. Employing a qualitative research design, the study analyzes the psychological growth of the protagonist by comparing it with traditional myths, particularly the Rostam-Sohrab and Oedipus narratives. It addresses a gap in Pamukian scholarship by considering a Jungian psychological framework – an approach often overlooked in favor of political, cultural, and historical readings. The protagonist’s hunger for paternal approval, remorse, and emotional struggles exemplify archetypal patterns that shape his individuation process. His growing mythic consciousness and evolving relationships reflect the operation of archetypes within both personal and cultural dimensions. The anima archetype is revealed through his shifting perceptions of maternal and romantic figures, fostering his journey toward self-realization. This paper encourages future research to extend Jungian approaches to Pamuk’s broader oeuvre or to explore archetypal analysis across other works of contemporary literature.

Across the Pacific, traditional myths and contemporary narratives describe the origins, animacy, and importance to daily human activities of the Sun and Moon. In Vanuatu, Indigenous local knowledge systems interpret ways that the Sun and Moon interact with humans and plants to achieve productive and sustainable lifeways. In this ethnographic study, we explore how residents of Aneityum Island perceive and narrate the Sun and Moon's interactions with animals, humans, and plants. We consider the influence of the Sun and Moon on domains of daily life on Aneityum, including agriculture, architecture, fishing, health care, navigation, time-reckoning, and diverse ritual activities. Aneityum islanders possess generationally accumulated understandings of their relationship to the environment, framed within the local cosmology and communicated orally. Sun and Moon lore-as expressed through myths and stories-directly informs Aneityumese people's actions and efforts at sustainable living, survival technologies, and biodiversity conservation on land and sea. This body of knowledge reveals the causes and manifestations of natural phenomena, and strategies for responding to their impacts. Due to the influences of globalization, many biocultural tools that focus on Sun and Moon lore are at risk of being forgotten. The Aneityumese people-aided by outside experts-are undertaking efforts to document and revitalize this knowledge to ensure the continuity of their resilient and sustainable lifeways.

Across the Pacific, traditional myths and contemporary narratives describe the origins, animacy, and importance to daily human activities of the Sun and Moon. In Vanuatu, Indigenous local knowledge systems interpret ways that the Sun and Moon interact with humans and plants to achieve productive and sustainable lifeways. In this ethnographic study, we explore how residents of Aneityum Island perceive and narrate the Sun and Moon’s interactions with animals, humans, and plants. We consider the influence of the Sun and Moon on domains of daily life on Aneityum, including agriculture, architecture, fishing, health care, navigation, time-reckoning, and diverse ritual activities. Aneityum islanders possess generationally accumulated understandings of their relationship to the environment, framed within the local cosmology and communicated orally. Sun and Moon lore—as expressed through myths and stories—directly informs Aneityumese people’s actions and efforts at sustainable living, survival technologies, and biodiversity conservation on land and sea. This body of knowledge reveals the causes and manifestations of natural phenomena, and strategies for responding to their impacts. Due to the influences of globalization, many biocultural tools that focus on Sun and Moon lore are at risk of being forgotten. The Aneityumese people—aided by outside experts—are undertaking efforts to document and revitalize this knowledge to ensure the continuity of their resilient and sustainable lifeways.

Abstract Black Myth: Wukong, developed by the Chinese studio Game Science, offers a groundbreaking and innovative reimagining of Journey to the West, setting itself apart from previous adaptations. While earlier games have often taken creative liberties with the classic narrative, Black Myth: Wukong reinterprets central philosophical and narrative elements from the source text through postmodern storytelling techniques. The game distinguishes itself by adopting fragmented narratives, multi-perspective storytelling, and player-driven decision-making, challenging conventional linear structures and enabling players to actively shape the progression and outcome of the story. Through this interactive design, the game deconstructs traditional myth while maintaining the philosophical and thematic core of Journey to the West, particularly its interrogation of identity, authority, and destiny. The game also blends Eastern and Western cultural elements seamlessly, creating a globalized cultural pastiche that deepens players’ engagement through both visual aesthetics and interactive mechanics. On a religious level, it reconstructs spiritual experiences through digital technology, offering immersive practices such as meditation and cultivation, and reinterpreting traditional faith-based rituals within a modern virtual space. Seen as a whole, Black Myth: Wukong is more than just a game: it stands as a cultural artefact that redefines the possibilities of video game adaptation and offers a dynamic new perspective on an ancient Chinese narrative.

Despite ongoing global efforts to end child marriage, the practice remains widespread in Indonesia. In 2024, Pasuruan recorded some of the highest child marriage rates. Ngantungan Village in Pasrepan is a striking example of how entrenched cultural beliefs and economic pressures continue to drive the trend. This study investigates how structural discrimination—primarily through the practice of ijbār (coercive guardianship) in Islamic legal interpretation—clashes with the best interests of the child (BIC) and perpetuates early marriage. Fieldwork included interviews with religious authorities, local officials, guardians, and young people involved in these marriages. The findings reveal that although Islamic jurisprudence allows guardians to arrange underage marriages under certain conditions, ijbār is frequently misapplied in ways that ignore girls' autonomy and strip them of their right to participate in life-changing decisions. In Ngantungan, traditional myths—like the belief that rejecting too many proposals dooms a girl to lifelong singleness—create social pressure, particularly for girls from low-income families with little formal education. For many, early marriage is seen not as a choice but as the only viable escape from economic hardship. Tackling this issue calls for more than legal reform. It demands a cultural shift, localized education initiatives, and financial support programs that offer meaningful alternatives and disrupt the cycle of child marriage.

he intersection of Black theology, African cultural identities and Indigenous belief systems has been topical in South Africa, given the apartheid history of the country. Black South Africans used theology to define their cultural identities and belief systems in their quest for liberation. The need to engage this symbiotic relationship in Zimbabwe arose with Joshua Maponga III, who used his theological background as a pastor to analyse the meaning of African cultural identities, Indigenous belief systems and the place of theology among suffering Africans. This article aims to interrogate Maponga’s writings, presentations and interviews on social media to find out how he drew from African cultural epistemologies to develop a Black theological perspective and define African cultural identities and Indigenous beliefs. The article argues that Maponga’s work offers a unique insight into how African culture can inform and enrich Black theological discourses. It discusses the methodology used and Maponga’s background. It further analyses how African cultural resources, such as traditional myths, rituals and symbols, enabled Maponga to develop a theology rooted in Black people’s experiences, challenging the dominant Western theological paradigms that have marginalised African culture and theological perspectives for years. Furthermore, the article discusses the implications of Maponga’s work for the ongoing development of Black and African Theologies. It concludes by stating that Maponga’s work offers an example of how African cultural resources can be used to develop a theology that is both contextual and liberative. Contribution: This study highlights the significance of intersectionality and contextualisation in theological research while also challenging dominant Western theological paradigms and emphasising the importance of African cultural epistemologies. It contributes to methodological innovation in theological research and provides implications for the ongoing development of Black and African Theologies.