This paper is centered on the extent to which contemporary Chinese science fiction is related to ancient Chinese mythologies according to the previous scholarly discussion and how these ancient mythologies are utilize...This paper is centered on the extent to which contemporary Chinese science fiction is related to ancient Chinese mythologies according to the previous scholarly discussion and how these ancient mythologies are utilized specifically in the futuristic narratives of modern Chinese science fiction.By referring to academic dialogues,this paper argues that ancient mythologies can be recreated in modern science fiction and create modern mythologies in futuristic narratives to present or deal with modern human fears.Based on this argument,this paper then continues to explore what kinds of modern mythologies science fiction might deliver.The Chinese film The Wandering Earth(2019)will be discussed in terms of its mythological symbols and metaphors.This paper proposes a new approach through which to reconnect past stories with futuristic narratives and builds a frame in which to contextualize ancient mythologies in contemporary Chinese culture.展开更多
Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of im...Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.展开更多
The article presents a social analysis of global transformation processes. The global transformation processes are treated as contradictory. These processes are not as positive as the negative impact on the system of ...The article presents a social analysis of global transformation processes. The global transformation processes are treated as contradictory. These processes are not as positive as the negative impact on the system of modem societies. Globalization as a popular ideology is based on the mythologizing of global neoliberal pseudo-integration, standardlization and unification. Thus it was formulated mythological discourse of global changes research. Apology of this mythological discourse became the intellectual foundation of globalization as a new social utopia. The article presents a critique of the mythological discourse of globalization. The ideology of globalization is interpreted as social dystopia.展开更多
Current sciences fail in understanding the future trends of human beings＇ behaviors and cultures. From the hunting tribes to the agricultural society, the civilized country, and then to the industrial society, none o...Current sciences fail in understanding the future trends of human beings＇ behaviors and cultures. From the hunting tribes to the agricultural society, the civilized country, and then to the industrial society, none of these developments is the results of human beings＇ reasonable proposal. The human beings are ＂developed＂, i.e. pushed forward by certain invisible forces. As being cultural, they are dominated by their cultural concepts. To explore the source of every civilization＇s concepts, the formation history of its mythological concepts during the pre-historic period or at the beginning of its civilization shall be studied first. By interpreting the first literature works at the beginning of western civilization, the temporary mythologists reveal the rule that mythological concepts dominate the ritual behaviors and narrative expressions. This paper interprets the historical narratives in Records of the Grand Historian.＂ Annals of the First Emperor of Qin, to reproduce the concepts that dominate China＇s national rulers, present the theory of Mythological Concepts＇ Determinism, and correspond to the counter-force of ideology put forward by Friedrich Engels in his later years and the religious concepts＇ determinism by Max Weber, so as to illustrate the mythological concepts＇ function as the prototype code of ideology, and refer to a common and effective directory approach of social science studies.展开更多
Dragons and dragon slayers belong to a system ofsemiology.They are images with messages.Differentcultures in the world have assigned to these imageshistorical limits,conditions of use,and introducedmultiple meanings i...Dragons and dragon slayers belong to a system ofsemiology.They are images with messages.Differentcultures in the world have assigned to these imageshistorical limits,conditions of use,and introducedmultiple meanings into them.Dragons do not exist,therefore dragon slayers do not either.However,they have become an artificial existence in most cul-tures,and this existence have passed from a closed,silent existence to an oral state,open to appropria-tion by society,for there is no regulation,either nat-ural or not,which forbids imagination.Few symbols saturate human civilization sobroadly and thoroughly as those of the dragon:proudly flicking its tail across the tapestries展开更多
Objective Through the metaphorical archetypal spirit and mythological semantics of Chinese character structure, this paper explores the metaphorical mythological gene and the moral order of the Chinese character struc...Objective Through the metaphorical archetypal spirit and mythological semantics of Chinese character structure, this paper explores the metaphorical mythological gene and the moral order of the Chinese character structure, geographical thinking and aesthetic orientation of the mythological prototypes derived from the Chinese characters. Method The cultural archetypes and the theories of big and small traditions are adopted to sort out the mythological beliefs in the former architectural forms of the big traditions and the ethical narrative system carried by the buildings in the small cultural traditional societies. In the architectural archetypes dominated by big and small cultural traditions, the thinking of “archetypes and ethics” is found to be a homologous gene, which confirms the universal significance of the spirit of Chinese Confucian ethics to the power of Chinese civilization flowing and inheriting and human morality. Conclusion The structure of Chinese characters has the function of “recording” and “interpreting”, and the mythological thinking of architectural form materials, understands the ultimate transformation of cultural archetypes in creation, and guides the value of the traditional architectural design of “bringing out goodness and symbiosis” in the contemporary era. To relieve the material pursuit of spiritual enjoyment at that moment, to promote cultural heritage and the role of social treatment, to build cultural identity and the spiritual transcendence of the existence value of space ethics and the overall social and cultural identity.展开更多
According to the historical records of prehistoric civilisation in China and the existing theories of prehistoric history within the academic community,it can be inferred that all human civilisations on Earth have the...According to the historical records of prehistoric civilisation in China and the existing theories of prehistoric history within the academic community,it can be inferred that all human civilisations on Earth have their origins in the period following the Great Flood,during which human civilisation was rebuilt.Furthermore,there are notable parallels between the figure of“Nuwa”in Chinese prehistoric civilisation and that of“Noah”in Western accounts.By treating the prehistoric flood event as a research approach in historical compilation,scholars can extract valuable insights into“building a community of a shared future for mankind”and use it as a symbol of global diplomatic relations.This approach can foster common values of mutual learning and exchange among nations,ultimately creating a more promising future for developing a new form of human civilisation.展开更多
This study investigates translation strategies for Chinese cultural terms in academic texts through a case study of Chapter 7 from“Jade Myth Belief and Chinese Spirit”.Using a qualitative research approach based on ...This study investigates translation strategies for Chinese cultural terms in academic texts through a case study of Chapter 7 from“Jade Myth Belief and Chinese Spirit”.Using a qualitative research approach based on cultural context framework and cognitive model,the study analyzes translation challenges and solutions in rendering cultural terms related to jade mythology and archaeological concepts.The research identifies three primary translation strategies:transliteration with annotation,domestication with explanation,and cognitive-based translation.The findings reveal that effective translation requires a balanced approach between maintaining academic precision and preserving cultural authenticity.The study demonstrates that successful translation of cultural terms in academic contexts demands a sophisticated understanding of both source and target cultural contexts,along with careful consideration of the academic audience’s needs.This research contributes to the field by providing practical insights for translators working with Chinese cultural texts in academic settings and proposing an approach to handling complex cultural terminology.展开更多
Botticelli’s The Birth of Venus continues to serve as an iconographic enigma and remains an enduring subject of scholarly analysis concerning the significance of mythological art and its symbolism during the Italian ...Botticelli’s The Birth of Venus continues to serve as an iconographic enigma and remains an enduring subject of scholarly analysis concerning the significance of mythological art and its symbolism during the Italian Renaissance.Therefore,it is particularly noteworthy to examine further the symbolic elements embedded within the imagery.This essay focuses on a specific component in the landscape of The Birth of Venus-the marsh plant on the riverbank,commonly known as cattail in English,tifa or stiancia in Italian,and Typha latifolia in Latin.Botticelli’s The Birth of Venus,executed between 1485 and 1490,is a tempera on canvas with gesso and gold applications.It was commissioned with specific aesthetic,cultural,and intellectual objectives and was intended to be displayed in a private chamber for personal viewing by members of the Medici family.Situated initially within the Medicean Villa at Castello,it has been exhibited at the Galleria degli Uffizi in Florence since 1815.This mythological painting exemplifies the Italian Renaissance principles of both physical and metaphysical humanism,visualized in a fusion of pagan and Christian iconography and iconology,incorporating symbolism that engages with antiquity and classical mythology.It also incorporates Italian Renaissance Neoplatonic philosophy,reflects Renaissance love poetry,demonstrates inventive patronage,and embodies spirituality directed towards a higher purpose.展开更多
Set against the cultural and historical backdrop of 18th-century Venice,Giulia Elisabetta Lama’s(1681-1747)remarkable paintings reveal intriguing connections to mythology and science.Lama’s notable depiction of Satu...Set against the cultural and historical backdrop of 18th-century Venice,Giulia Elisabetta Lama’s(1681-1747)remarkable paintings reveal intriguing connections to mythology and science.Lama’s notable depiction of Saturn Devouring His Child,painted in oils in 1729 and now in a private collection,draws significant attention.展开更多
Cassirer argues that humans are animals of symbols,and these symbolic forms encompass not only the science of rational logic but also non-logical elements such as mythology and primitive religions.Previous research on...Cassirer argues that humans are animals of symbols,and these symbolic forms encompass not only the science of rational logic but also non-logical elements such as mythology and primitive religions.Previous research on Cassirer’s philosophy of symbolic forms has primarily focused on philosophical connotations,philosophical thoughts,cultural philosophy,and other aspects,yielding abundant results.By examining mythology within the context of symbolic forms,we discover a force within it,namely,the solidifying power.This solidifying power demands that mythology maintain fixed and established forms during its emergence and development,thereby distinguishing it from other symbolic forms.By exploring the development trends and manifestations of the solidifying power in mythology,we can gain a clearer understanding of the path of human intellectual development from childhood to maturity,thus answering the historical question of human essence.展开更多
Mythology of the San Bushmen of Southern Africa By MATHIAS GUENTHER Oxford University Press The San Bushmen,among the oldest continuous cultures on Earth,are indigenous peoples recognised as the First Nations of South...Mythology of the San Bushmen of Southern Africa By MATHIAS GUENTHER Oxford University Press The San Bushmen,among the oldest continuous cultures on Earth,are indigenous peoples recognised as the First Nations of Southern Africa.Rich in storytelling traditions,San culture preserves a vast body of myth and lore.In the book.展开更多
Die Walküre is the most frequently staged and most popular title of the Ring cycle among classical music enthusiasts.It tells a complex story that involves intertwined relationships between father and daughter,hu...Die Walküre is the most frequently staged and most popular title of the Ring cycle among classical music enthusiasts.It tells a complex story that involves intertwined relationships between father and daughter,husband and wife,brother and sister,and lovers in the epic context of the Nordic mythology.展开更多
Although wars and shifts of power happened constantly during the Southern and Northern dynasties (420-589), the exchange with foreign countries in culture and economy never stopped. Some art works unearthed from the t...Although wars and shifts of power happened constantly during the Southern and Northern dynasties (420-589), the exchange with foreign countries in culture and economy never stopped. Some art works unearthed from the tomb of General Li Xian of the Northern Zhou (died in 569) and his wife in the western suburb of Guyuan County, Ningxia in 1983 are the affirmation of that. These art works include a glass bowl with raised floral design,展开更多
Many Russian scholars have expounded Dostoevsky＇s religious outlooks, which are embodied in Petersburg＇s religious myths. Dostoevsky describes the fantasy of Petersburg in the hands of the devil, and he also adds a ...Many Russian scholars have expounded Dostoevsky＇s religious outlooks, which are embodied in Petersburg＇s religious myths. Dostoevsky describes the fantasy of Petersburg in the hands of the devil, and he also adds a lot of mythological colors in his diction. This article expounds the above idea from the angles of both mythological atmosnhere and mythological poetics.展开更多
This essay examines Francis Sydney Muschamp’s depictions of the Penelope myth during the Victorian era.The Penelope myth,a significant narrative in the Victorian era,was popularized by the Pre-Raphaelite painters Tho...This essay examines Francis Sydney Muschamp’s depictions of the Penelope myth during the Victorian era.The Penelope myth,a significant narrative in the Victorian era,was popularized by the Pre-Raphaelite painters Thomas Seddon(1821-1856),Dante Gabriel Rossetti(1828-1882),John Roddam Spencer Stanhope(1829-1908),Frederick Sandys(1829-1904),and John William Waterhouse(1849-1917).Their interpretations of this epic poem from Homer’s Odyssey(800 BCE)inspired Muschamp(1851-1929).He often depicted Penelope’s unwavering fidelity and patience as female virtuosity and a cunning perception of family values during her husband Odysseus’s long absence.Historically,Penelope was the Queen of Ithaca and the loyal wife of King Odysseus(Ulysses).During her husband’s 20-year absence while fighting in the Trojan Wars,Penelope was pursued by suitors competing for her affection and insisting that Odysseus was dead.Despite their advances,Penelope refused to believe that she had been widowed or abandoned.She devised various tricks to keep the suitors at bay.For example,she told them she would choose one of them to marry after completing a woven funeral shroud for her father-in-law,Laertes.Every day,she worked diligently on the tapestry,a shroud,while the impatient suitors watched her progress,but she secretly unraveled the day’s work at night when they were asleep.The tapestry became known as Penelope’s Web.展开更多
This article delves into the significance of Guido Reni’s Infant Bacchus,created during the Italian Baroque period.By examining historical and iconographic elements,the study aims to interpret the symbolism depicted ...This article delves into the significance of Guido Reni’s Infant Bacchus,created during the Italian Baroque period.By examining historical and iconographic elements,the study aims to interpret the symbolism depicted in the painting.The historical aspects include the birth of Dionysus or Bacchus in classical and Italian Renaissance imagery and literary and visual sources that influenced Reni’s solo painting.The iconographic components encompass the infant’s nude body,the child’s bodily functions,and the attributes associated with Bacchus,the God of Agriculture,Revelry,and Wine,such as the grapevines,grapes,ivy,glass flask,kantharos(wine cup),and wine barrel.The emblematic and cosmological associations of Bacchus’s divinity are considered as well.展开更多
Origin of Fengshui Woods was studied, 3 representative standpoints (Fengshui doctrines, greening and worship of the god of land) about Fengshui woods were analyzed, and worship of the god of land was believed as a rea...Origin of Fengshui Woods was studied, 3 representative standpoints (Fengshui doctrines, greening and worship of the god of land) about Fengshui woods were analyzed, and worship of the god of land was believed as a reasonable origin view through considering natural and social factors of ancient China, as well as universal mental characteristics of people in the prescience age. To identify advantages and disadvantages of these 3 views, Carl G. Jung' theory of mythological prototype criticism and Sir James George Frazer's anthropological study were borrowed to prove that Fengshui Woods originated from ancient Chinese worship of the god of land, and such worship gradually evolved into practices of planting Fengshui Woods for their propitious signs. On this basis, enlightenment of Fengshui Woods to modern society was disclosed to protect present Fengshui Woods and forest resources.展开更多
Mythology originated from the Greek. It refers to the ancient legends and stories. Up to the end of the 19^th century and the early part of the 20^th century, mythology attained a new meaning and the new mythology cam...Mythology originated from the Greek. It refers to the ancient legends and stories. Up to the end of the 19^th century and the early part of the 20^th century, mythology attained a new meaning and the new mythology came into being. The Russian symbolists took the mythology as a form to create the new mythology. Petersburg by Andrej Belyj and Meregkovskiy is characterized by ＂the new mythology＂.展开更多
文摘This paper is centered on the extent to which contemporary Chinese science fiction is related to ancient Chinese mythologies according to the previous scholarly discussion and how these ancient mythologies are utilized specifically in the futuristic narratives of modern Chinese science fiction.By referring to academic dialogues,this paper argues that ancient mythologies can be recreated in modern science fiction and create modern mythologies in futuristic narratives to present or deal with modern human fears.Based on this argument,this paper then continues to explore what kinds of modern mythologies science fiction might deliver.The Chinese film The Wandering Earth(2019)will be discussed in terms of its mythological symbols and metaphors.This paper proposes a new approach through which to reconnect past stories with futuristic narratives and builds a frame in which to contextualize ancient mythologies in contemporary Chinese culture.
文摘Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.
文摘The article presents a social analysis of global transformation processes. The global transformation processes are treated as contradictory. These processes are not as positive as the negative impact on the system of modem societies. Globalization as a popular ideology is based on the mythologizing of global neoliberal pseudo-integration, standardlization and unification. Thus it was formulated mythological discourse of global changes research. Apology of this mythological discourse became the intellectual foundation of globalization as a new social utopia. The article presents a critique of the mythological discourse of globalization. The ideology of globalization is interpreted as social dystopia.
文摘Current sciences fail in understanding the future trends of human beings＇ behaviors and cultures. From the hunting tribes to the agricultural society, the civilized country, and then to the industrial society, none of these developments is the results of human beings＇ reasonable proposal. The human beings are ＂developed＂, i.e. pushed forward by certain invisible forces. As being cultural, they are dominated by their cultural concepts. To explore the source of every civilization＇s concepts, the formation history of its mythological concepts during the pre-historic period or at the beginning of its civilization shall be studied first. By interpreting the first literature works at the beginning of western civilization, the temporary mythologists reveal the rule that mythological concepts dominate the ritual behaviors and narrative expressions. This paper interprets the historical narratives in Records of the Grand Historian.＂ Annals of the First Emperor of Qin, to reproduce the concepts that dominate China＇s national rulers, present the theory of Mythological Concepts＇ Determinism, and correspond to the counter-force of ideology put forward by Friedrich Engels in his later years and the religious concepts＇ determinism by Max Weber, so as to illustrate the mythological concepts＇ function as the prototype code of ideology, and refer to a common and effective directory approach of social science studies.
文摘Dragons and dragon slayers belong to a system ofsemiology.They are images with messages.Differentcultures in the world have assigned to these imageshistorical limits,conditions of use,and introducedmultiple meanings into them.Dragons do not exist,therefore dragon slayers do not either.However,they have become an artificial existence in most cul-tures,and this existence have passed from a closed,silent existence to an oral state,open to appropria-tion by society,for there is no regulation,either nat-ural or not,which forbids imagination.Few symbols saturate human civilization sobroadly and thoroughly as those of the dragon:proudly flicking its tail across the tapestries
文摘Objective Through the metaphorical archetypal spirit and mythological semantics of Chinese character structure, this paper explores the metaphorical mythological gene and the moral order of the Chinese character structure, geographical thinking and aesthetic orientation of the mythological prototypes derived from the Chinese characters. Method The cultural archetypes and the theories of big and small traditions are adopted to sort out the mythological beliefs in the former architectural forms of the big traditions and the ethical narrative system carried by the buildings in the small cultural traditional societies. In the architectural archetypes dominated by big and small cultural traditions, the thinking of “archetypes and ethics” is found to be a homologous gene, which confirms the universal significance of the spirit of Chinese Confucian ethics to the power of Chinese civilization flowing and inheriting and human morality. Conclusion The structure of Chinese characters has the function of “recording” and “interpreting”, and the mythological thinking of architectural form materials, understands the ultimate transformation of cultural archetypes in creation, and guides the value of the traditional architectural design of “bringing out goodness and symbiosis” in the contemporary era. To relieve the material pursuit of spiritual enjoyment at that moment, to promote cultural heritage and the role of social treatment, to build cultural identity and the spiritual transcendence of the existence value of space ethics and the overall social and cultural identity.
文摘According to the historical records of prehistoric civilisation in China and the existing theories of prehistoric history within the academic community,it can be inferred that all human civilisations on Earth have their origins in the period following the Great Flood,during which human civilisation was rebuilt.Furthermore,there are notable parallels between the figure of“Nuwa”in Chinese prehistoric civilisation and that of“Noah”in Western accounts.By treating the prehistoric flood event as a research approach in historical compilation,scholars can extract valuable insights into“building a community of a shared future for mankind”and use it as a symbol of global diplomatic relations.This approach can foster common values of mutual learning and exchange among nations,ultimately creating a more promising future for developing a new form of human civilisation.
基金sponsored by the Humanities and Social Sciences Project of the Ministry of Education under Grant No.24YJCZH443Shanghai Philosophy and Social Science Planning Project under Grant No.2024EYY015Shanghai Municipal Philosophy and Social Sciences Planning Project under Grant No.2024EYY011.
文摘This study investigates translation strategies for Chinese cultural terms in academic texts through a case study of Chapter 7 from“Jade Myth Belief and Chinese Spirit”.Using a qualitative research approach based on cultural context framework and cognitive model,the study analyzes translation challenges and solutions in rendering cultural terms related to jade mythology and archaeological concepts.The research identifies three primary translation strategies:transliteration with annotation,domestication with explanation,and cognitive-based translation.The findings reveal that effective translation requires a balanced approach between maintaining academic precision and preserving cultural authenticity.The study demonstrates that successful translation of cultural terms in academic contexts demands a sophisticated understanding of both source and target cultural contexts,along with careful consideration of the academic audience’s needs.This research contributes to the field by providing practical insights for translators working with Chinese cultural texts in academic settings and proposing an approach to handling complex cultural terminology.
文摘Botticelli’s The Birth of Venus continues to serve as an iconographic enigma and remains an enduring subject of scholarly analysis concerning the significance of mythological art and its symbolism during the Italian Renaissance.Therefore,it is particularly noteworthy to examine further the symbolic elements embedded within the imagery.This essay focuses on a specific component in the landscape of The Birth of Venus-the marsh plant on the riverbank,commonly known as cattail in English,tifa or stiancia in Italian,and Typha latifolia in Latin.Botticelli’s The Birth of Venus,executed between 1485 and 1490,is a tempera on canvas with gesso and gold applications.It was commissioned with specific aesthetic,cultural,and intellectual objectives and was intended to be displayed in a private chamber for personal viewing by members of the Medici family.Situated initially within the Medicean Villa at Castello,it has been exhibited at the Galleria degli Uffizi in Florence since 1815.This mythological painting exemplifies the Italian Renaissance principles of both physical and metaphysical humanism,visualized in a fusion of pagan and Christian iconography and iconology,incorporating symbolism that engages with antiquity and classical mythology.It also incorporates Italian Renaissance Neoplatonic philosophy,reflects Renaissance love poetry,demonstrates inventive patronage,and embodies spirituality directed towards a higher purpose.
文摘Set against the cultural and historical backdrop of 18th-century Venice,Giulia Elisabetta Lama’s(1681-1747)remarkable paintings reveal intriguing connections to mythology and science.Lama’s notable depiction of Saturn Devouring His Child,painted in oils in 1729 and now in a private collection,draws significant attention.
文摘Cassirer argues that humans are animals of symbols,and these symbolic forms encompass not only the science of rational logic but also non-logical elements such as mythology and primitive religions.Previous research on Cassirer’s philosophy of symbolic forms has primarily focused on philosophical connotations,philosophical thoughts,cultural philosophy,and other aspects,yielding abundant results.By examining mythology within the context of symbolic forms,we discover a force within it,namely,the solidifying power.This solidifying power demands that mythology maintain fixed and established forms during its emergence and development,thereby distinguishing it from other symbolic forms.By exploring the development trends and manifestations of the solidifying power in mythology,we can gain a clearer understanding of the path of human intellectual development from childhood to maturity,thus answering the historical question of human essence.
文摘Mythology of the San Bushmen of Southern Africa By MATHIAS GUENTHER Oxford University Press The San Bushmen,among the oldest continuous cultures on Earth,are indigenous peoples recognised as the First Nations of Southern Africa.Rich in storytelling traditions,San culture preserves a vast body of myth and lore.In the book.
文摘Die Walküre is the most frequently staged and most popular title of the Ring cycle among classical music enthusiasts.It tells a complex story that involves intertwined relationships between father and daughter,husband and wife,brother and sister,and lovers in the epic context of the Nordic mythology.
文摘Although wars and shifts of power happened constantly during the Southern and Northern dynasties (420-589), the exchange with foreign countries in culture and economy never stopped. Some art works unearthed from the tomb of General Li Xian of the Northern Zhou (died in 569) and his wife in the western suburb of Guyuan County, Ningxia in 1983 are the affirmation of that. These art works include a glass bowl with raised floral design,
文摘Many Russian scholars have expounded Dostoevsky＇s religious outlooks, which are embodied in Petersburg＇s religious myths. Dostoevsky describes the fantasy of Petersburg in the hands of the devil, and he also adds a lot of mythological colors in his diction. This article expounds the above idea from the angles of both mythological atmosnhere and mythological poetics.
文摘This essay examines Francis Sydney Muschamp’s depictions of the Penelope myth during the Victorian era.The Penelope myth,a significant narrative in the Victorian era,was popularized by the Pre-Raphaelite painters Thomas Seddon(1821-1856),Dante Gabriel Rossetti(1828-1882),John Roddam Spencer Stanhope(1829-1908),Frederick Sandys(1829-1904),and John William Waterhouse(1849-1917).Their interpretations of this epic poem from Homer’s Odyssey(800 BCE)inspired Muschamp(1851-1929).He often depicted Penelope’s unwavering fidelity and patience as female virtuosity and a cunning perception of family values during her husband Odysseus’s long absence.Historically,Penelope was the Queen of Ithaca and the loyal wife of King Odysseus(Ulysses).During her husband’s 20-year absence while fighting in the Trojan Wars,Penelope was pursued by suitors competing for her affection and insisting that Odysseus was dead.Despite their advances,Penelope refused to believe that she had been widowed or abandoned.She devised various tricks to keep the suitors at bay.For example,she told them she would choose one of them to marry after completing a woven funeral shroud for her father-in-law,Laertes.Every day,she worked diligently on the tapestry,a shroud,while the impatient suitors watched her progress,but she secretly unraveled the day’s work at night when they were asleep.The tapestry became known as Penelope’s Web.
文摘This article delves into the significance of Guido Reni’s Infant Bacchus,created during the Italian Baroque period.By examining historical and iconographic elements,the study aims to interpret the symbolism depicted in the painting.The historical aspects include the birth of Dionysus or Bacchus in classical and Italian Renaissance imagery and literary and visual sources that influenced Reni’s solo painting.The iconographic components encompass the infant’s nude body,the child’s bodily functions,and the attributes associated with Bacchus,the God of Agriculture,Revelry,and Wine,such as the grapevines,grapes,ivy,glass flask,kantharos(wine cup),and wine barrel.The emblematic and cosmological associations of Bacchus’s divinity are considered as well.
基金Supported by the Program of Jingdezhen Municipal Joint Association of Social and Scientific Circle (103120401)Staged Fruits of National Natural Science Foundation(41061020)~~
文摘Origin of Fengshui Woods was studied, 3 representative standpoints (Fengshui doctrines, greening and worship of the god of land) about Fengshui woods were analyzed, and worship of the god of land was believed as a reasonable origin view through considering natural and social factors of ancient China, as well as universal mental characteristics of people in the prescience age. To identify advantages and disadvantages of these 3 views, Carl G. Jung' theory of mythological prototype criticism and Sir James George Frazer's anthropological study were borrowed to prove that Fengshui Woods originated from ancient Chinese worship of the god of land, and such worship gradually evolved into practices of planting Fengshui Woods for their propitious signs. On this basis, enlightenment of Fengshui Woods to modern society was disclosed to protect present Fengshui Woods and forest resources.
文摘Mythology originated from the Greek. It refers to the ancient legends and stories. Up to the end of the 19^th century and the early part of the 20^th century, mythology attained a new meaning and the new mythology came into being. The Russian symbolists took the mythology as a form to create the new mythology. Petersburg by Andrej Belyj and Meregkovskiy is characterized by ＂the new mythology＂.
