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＂.

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.

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 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.

Japanese Mythology From Ethnological Perspectives

Comparative studies of Japanese mythology have developed since the 1920s above all through eftbrts of Japanese ethnologists. They have paid attention to the possible ethno-cultural complexes that brought mythological motifs into the archipelago. In the present paper the theories set forth by Nobuhiro Matsumoto, Akihide Mishina, and Masao Oka are examined in terms of retrospect. The result shows that they shared the view that at least three different complexes, based in ancient Yamato, Izumo, and Kyushu respectively, contributed to the formation of Japanese mythology compiled in the 8th century CE （Common Era）. Their assumptions were synthesized by Taryo Obayashi in 1961, the hypothesis which has survived until today. In future we should cooperate with other disciplines and address the formation process of Japanese mythology.

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.

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.

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.

Attempting Discussion of Mythological Concepts＇ Determinism

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.

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.

Globalization as a Social Utopia： Towards the Modem Sociological Criticism of a Mythological Discourse

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.

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.

The Mythological Battles Around the World The Images and Meanings of International Dragon-Slayers

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