Resonance From the Past to the Future:Mythological Metaphors in Chinese Science Fiction Films

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.

Guido Reni’s Infant Bacchus: “In vino veritas”

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.

Giorgio Vasari’s A Bride with a Rake:A Mythological Pun

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.

Yuan Ke and Chinese Mythology

Yuan Ke shifted his focus from early literary creation to mythological research,gradually developing a distinctive approach to mythology research,which involves examining the correlation between mythology and literature.Yuan Ke is one of the most exceptional scholars who has made significant contributions to the popularity and promotion of Chinese mythology.He has collected,sorted out,and transformed related materials into stories to facilitate the systematic development of Chinese mythology.Moreover,he proposed and constructed a broad mythology theory,making him a leading figure in contemporary Chinese mythology research.Upon reflecting on the development of Chinese mythology,it is evident that Yuan Ke has progressed from a learner to a trailblazer and finally to the architect of his own comprehensive mythological framework.

The Birth and Custody of Infant Bacchus

This article discusses the visual aspects of the birth of Dionysus/Bacchus,the God of Agriculture,Revelry,and Wine,in classical art.It examines the historical and iconographic aspects of the infant Dionysus’s custody by two deities,Silenus and Mercury,in ancient classical art,particularly in Roman frescoes and sculptural reliefs,and its echoes in Italian Renaissance engravings.

Exploring the Concept of“Build a Community of a Shared Future for Mankind”in International Diplomacy:A Prehistoric Mythological Perspective

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.

Origin of Fengshui Woods and Its Enlightenment to Modern Society

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.

New mythology of the Russian symbolism

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＂.

Petersburg＇s religious myths in Dostoevsky＇s Crime and punishment

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.

Andrej Belyj＇s Novel-myth Perterburg

Andrej Belyj is the main representative of Russia symbolism. Symbolists pursue the text mystique with massive utilization of myth. But here myth has changed and obtained new myth characteristic, which is manifested in Perterburg.

The representation of the myth, St. Petersburg stories in Petersburg

Bely＇s Petersburg continues the mythological themes in a series of St. Petersburg stories. In this novel, Bely does not simply adopt Gogol＇s rhetorical techniques, but takes it as the base of symbolism, conforms to symbolism, and eventually makes symbolism a theory of world outlook.

An Archetypal Approach to Dick Diver in Tender Is the Night

Dick Diver, originally a young and promising doctor and psychoanalyst, is on his way to a glamorous future, but he gradually reduces himself to drinking, cursing and drifting away in the society. Following his life journey—his love, his marriage, his fall and ruin, we readers can easily associate him with some important characters taken from Greek mythology: Apollo, Dionysus and Daedalus.

The Natural Landscape of Philosophy （The Political Reflection of Heraclitus and Aristotle）

Civilizational breakthrough of ＂axial time,＂ implemented ＂human band＂ in the middle of the first millennium BC practically simultaneously in different latitudes of our planet--this is the time of the birth of science and arts, the development of language as a literary tradition, the becoming of Myth as an active picture of the world--a subjective objective, a philosophical understanding of what is the person and being that surrounds him and what he creates, and formation of knowing the world by the word and deed of the subject and, at the same time, the thinking object possessing political reflection. However, political reflection has one significant drawback--the brevity of historical memory, which should from time to time be brought to life, refreshing the milestones of events and the wisdom of others＇ reflections, so that cognitive dissonances do not arise freely （arbitrarily） or malicious aforethought of political phenomena （war, state, strategist-politician, political power, etc.）, breaking the membrane of human hostel---ethos, the philosophy of culture, art with science and the craving for work. The 20th century （and lasting the first quarter of the 21 st century）, is as a vivid illustration of endless wars and permanent revolutions, as an age of world and local conflicts, demonstrating an indissoluble connection with the ancient myth, the 20th scattered the teeth of mythology, rehashing the world and the principles of the state, destroying boundaries and the empire, unleashing new wars, multiplying ethnic conflicts, sweeping away valued reference point and changing anthropological signs, disagreeing with the essential in man： depriving the Word and the Cause.

The Spiritual Prototype of Santiago in Greek Mythology

As the hero in Ernest Hemingway's greatest masterpiece,The Old Man and the Sea,Santiago has always been considered as a perfect example of Hemingway's stoical protagonists.Being one of the classic characters in the American literature,Santiago is noticed for his strength,wisdom,bravery,and above all,his unsurpassed endurance.Even though the prototype of Santia go in reality,as Hemingway once revealed in an interview,is an old Cuban fisherman who told him about his experience of catching a large marlin and losing it to the sharks in 1935[海],the spiritual prototype of the old man has been best interpreted in the Greek Mythology.To be more precise,Santiago's spiritual prototype is the combination of Atlas,Prometheus and Sisyphus.

A Review of the Relationship Between Kunlun Culture and Chinese Civilisation

With the development of many years,Kunlun culture has been the convergence of both material and spiritual civilisation in human society. Kunlun culture is very prominent throughout the traditional Chinese culture, for it enjoys a long history and is closely related to the traditional Chinese culture. As the origin, soul and form of the traditional Chinese culture,Kunlun culture plays a vital role in enhancing the identity and cohesiveness of the Chinese nation, improving China's cultural soft power and national confidence and boosting the development of"Silk Road Economic Belt".

Greek Mythology

Most Greek myths or legends from ancient Greek literature, including such as "Iliad" and "Odyssey" of the "Homer", Hesiod's "Work Time" and "Divinity," Ovid's "Metamorphoses" and other classics, as well as Aeschylus, Sophocles and Euripides in the European theater.

Structural Transformation and Historical Expression in Dynastic Legend of Early China———Review of Sarah Allan‘s Study on the Ancient Legends of China in The Heir and The Sage

As an im portant scholar of contemporary sinology，Sarah A lla n ’s research on Chinese ancient h is to ry，on the basis of continuing the tradition of historical studies and archaeology， used Claude Levi - Strauss5 theory and method of structuralism for reference，and opened a new path for western Sinological research. H er study of ancient legends initiated wide interest in the circles of sinology ，and was considered to be both special and very innovative.

Hepatic regeneration in Greek mythology

The accurate knowledge of surgical anatomy,the amelioration of post-operative processes and the continuously increasing experience of surgeons nowadays allow the performance of severe hepatic operations(e.g.,wide liver resections,liver transplantations,etc.).The success of these operations is even more assisted by the great regenerative ability of the liver.Greek mythology,being an important source of information on the beliefs,habits,and phenomena observed during antiquity,reveals that hepatic regeneration was well known to ancient Greeks and this natural ability was established in two tales:the tale of Prometheus and the tale of the Giant Tityus.The main concept of both tales,being the destruction and reconstitution of the liver,is almost the same.Both of the condemned were immortal and their liver regenerated in a night,providing thus,food for the eagles and eternal pain for the sufferers.In conclusion,the tales show that the regenerative ability of the liver was well known from early years and that the trust shown by the Gods in this ability,to cause eternal suffering is on a par with the trust shown by the modern surgeons in it,to assure a successful hepatic operation.

Philosophy of Chinese Mythology:An Introduction

The term“philosophy of mythology”is not a newly-coined terminology.It has been used by Schelling1,a German philosopher of the 19th century,as the title of his masterpiece.Ernst Cassirer,a famous German philosopher of the 20th century also used it in the chapter heading of the introduction of Symbolic Forms of Philosophy Volume 2.2 However,a review of the books on mythology or philosophy in China reveals the concept of philosophy of mythology is still unfamiliar to the Chinese academic circles since the books mentioned above of both Schelling and Cassirer have not been translated into Chinese.So there is a necessity to clarify the title of this book.

A Study on the Traditional Chinese Traditional Architectural Form of Mythological Tradition

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.