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.

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.

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.

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.

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.

The Research on Character Design Based on the Chinese Mythology:A Case Study of Shisa

Chinese mythology with its profound cultural asserts and the unconstrained imagination is an indispensable factor in animation creation.The rich resources of myth in ancient China provided a broad space for the creation of animation film and inherited a long ethnic culture.Firstly,the study creates an animation mythological character design model according to the literature review to provide the operational theory for animation design,which consists of three main parts:central idea,research method,and conceptual model.Secondly,the research sums up the animation character creative process framework through the case of Shisa with the specific ideas of creative design.Four steps are used to design a mythological character:set a scenario(illustration),tell a story(interpretation),write a script(reaction),and design a character(reflection).It has analyzed how to integrate the information about the mythology and stimulate the designers’creative imagination in the animation character design in order to create the artworks with unique oriental charm.

Image Evolution of “Dragon” from Ancient Greek Mythology to Modern Films

Dragon is a legendary figure in myth and legend,which appears frequently in eastern and western myths and legends.Among the western myths and legends about dragons,the most famous one is ancient Greek myths.Starting from the dragon image in Greek mythology,this paper briefly introduces the images of different dragons in Greek mythology,and then introduces the evolution of the dragon image in various film works.The conclusion drawn from this paper is that with the integration of eastern and western cultures,the dragon in western films is no longer a single evil and negative image,but a diversified image welcomed by the audience.

The Life Values of Greek Mythology

The difference between human and animals is that human not only obey the rules of nature and history but also possess subjective attitude and spirit of life, which are presented as life values by reflecting directly on ideology. According to it,Greek mythology pours out its life values based on its subjective attitude and spirit of life.

Influences of the Greek Mythology on British and American Literature

The paper starts with an introduction to Greek mythology,and then deeply explores the influence of Greek mythology on western culture and its roles in the development of British and American classical literature in the west.At last,the author analyzes the profound influences of Greek mythology on British and American literature from vocabulary,character role,creative inspiration,way of thinking,the outlook on life,values,and other aspects.

A Brief Analysis on Mortal Women in Greek Mythology

In Greek Mythology, women play an important role in attracting readers' attention. In fact, their stories are the expressions used by ancient Greeks to present their views toward women. This essay will analyze the stories of mortal women in Greek Mythology and try to prove they are representatives of women in the realistic world.

The Unfinished Mystery：from Ancient Greek Mythology to Marxist Philosophy

The"Riddle of the Sphinx "in G reek m ythology only gives the im age answ er in the m yth scene.T hat to grasp the destiny,one m ust know oneself is the great m etaphor hidden in it.T he"Riddle of the Sphinx "appears in every developm ent stage of hum an history w ith variable appearances,and hum an also use w isdom and courage to explore the real riddle.O n the basis of the previous philosophical inquiry of the riddle,M arxist philosophy has constructed a new w orld outlook,w hich is the m ost likely w ay to answ er the riddle.T he present situation of hum an suggests that the "Riddle of the Sphinx "should rem ain to be revealed.

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.

建构现代学术与重勘中华文明——20世纪以来《楚辞》神话研究概述及反思

有别于传统经史范式,中国现代神话学的建立是《楚辞》神话研究的基本前提。在异质文化冲击和现代学术建构的驱力下,20世纪以来的《楚辞》神话研究成为时人理解中华文化、重勘中华文明的途径。20世纪前期形成的四条基本路径影响至今:诉诸信史的实证研究、文学艺术的系统研究、跨文明比较研究、人类学和民族学阐释。经20世纪中期过渡,80年代以来的《楚辞》神话研究走向繁荣和学科自觉。同时,随着中国神话学界的前沿反思与范式推进,《楚辞》神话与中国文明起源特征、早期经典形成、早期中国思想史等问题成为学界热点。新的学术视野和新的学术使命都昭示着,《楚辞》神话研究必将继续参与到更深入更宽阔的当代学术发展中。

宗法阐释:中国神话文化阐释之维

以宗法阐释为文化阐释之维,是中国神话有别于西方神话的独特之处。这一文化阐释之维的确立,在于天人合一思维模式与原始思维的同一,以及初始载录神话时人们文化理念与原始文化理念的紧密关联,即宗法在中国神话时代与文明时代的连结中所起到的重要的桥梁作用。随着这一文化阐释方式的传承延展,中国神话的宗法阐释凝练出敬德保民、宗族祖先崇拜、重建秩序三大典型范式,而其目标则指向文明与自然的冲突、亲亲尊尊的伦理诉求、以延祖祀的现实目的。在文明与自然的缠绕复合中,宗法形态演进与中国神话传承的终始同行,为宗法神话学奠定了坚实的基础。

让神话的精神自己起作用——钱特皮与神话现象学的早期发展

钱特皮是宗教现象学方法的创建者,他从宗教学视角对神话现象进行了较为详尽的分析。这代表了比较神话学的一个重要取向。从这一方法出发,他对神话现象进行了非历史的或系统的、非神学的以及反化约论的解释,对当时的主要神话理论进行了批判总结。他反对神话学中的各种寓言式解读,包括实用式解释(犹希迈罗斯主义)、心理式解释与自然式解释,而强调要重视神话本身的特质。他认为神话学必须依靠直接的直观来把握住神话的有机整体,让神话的精神自己起作用。这一视野预示了20世纪神话现象学发展的诸多特征。

神话与现实的完美融合——拜厄特小说《太阳的影子》中的神话戏仿解读

作为互文性的重要表现形式,戏仿在后现代主义的艺术形式中广泛存在。本文从拜厄特代表小说《太阳的影子》中对经典神话的戏仿入手,对神话原型夏洛特女士和小说主人公安娜的人物形象、性格特征以及命运结局等方面进行对比分析,探讨了维多利亚时期女性的生存状况以及知识女性找寻自我、重塑自我的艰难过程,进而展示拜厄特借助经典神话的戏仿将现实与历史进行融合的独特艺术手法。

中国动漫审美特征的神话学探究

受中国神话影响,中国动漫在形象塑造、情节设置、声画艺术方面具有鲜明的民族特质和民族精神,追求崇高,再现现实,强调教化意义。从神话学的研究视角,探究中国动漫的教化功能、伦理意识、女性观念等审美特征的形成,阐释中国动漫审美特征与中国神话之间的内在关联,揭示中国神话对中国动漫潜在的深刻的影响,对继承和发展中国优秀传统文化具有重要的现实意义。

遇见:本体审美的叙事性指涉

美即审美,即遇见;遇见就是审美,就是美。美是从对象讲,审美是从主体讲,遇见则是从本体讲。遇见是一种境遇,即主客及他者及环境以及世界共在的审美状态。本体审美的关键是主体性的介质化,本质是进入巫性思维,旨趣在于解构张扬矛盾冲突的叙事模式,其成果是本文表象与意象文本的同一,即寓言化。