Classical Mythology: The Mystery Underlying Everyday Things?

2013 ◽  
pp. 68-97
Keyword(s):  
2015 ◽  
Vol 10 (2) ◽  
pp. 250-268
Author(s):  
Leo Mellor

This article traces the complex and potent role of classical mythology in the poet George Barker's work of the 1930s. Noting Geoffrey Grigson's rage about ‘narcissism’ when reviewing Barker in 1935 it shows why this barb was more perceptive and apposite – in acknowledging an obsession with both a figure and an overtly classical precedent – than the acclamation given to Barker at the time, from T. S. Eliot among others. Central to the article is an exploration of Barker's heterodox version of a common modernist urge: encountering and reworking of fractured myths. For the radical and ever-present notions of uncertainty with which classical tales and Gods are treated in Barker's work is also revelatory of the autodidactic process – incomplete, unstable, and without class-annotated cultural authority – by which he gained such knowledge. The article thus situates Barker within a cultural matrix, and draws renewed attention to the pluralities of poetry within 1930s Britain.


Author(s):  
Sheila Murnaghan ◽  
Deborah H. Roberts

The preceding work is summed up as a study of adults’ attempts over a century-long period to make sense of their own childhood experiences of antiquity and to recreate those experiences for new generations through the medium of absorbing pleasure reading. Such experiences are valued for their capacity to stimulate the imagination, to expand moral understanding, to pave the way for further education, and to bring renewal or redemption to the disturbed modern world. The chapter ends with a brief survey of developments in classical mythology and historical fiction for children and young adults from the mid-1960s until the present, including the emergence of new forms of fantasy literature and the role of new media such as video games and fan fiction.


Author(s):  
Silvio Bär

This article is intended for students and teachers of classical mythology. It gives an overview of the nature and the characteristics of the gods in Greek and Roman mythology, explaining what the Greek and Roman gods are and what they are not. Furthermore, the relationship between gods and humans in classical mythology is discussed.


2021 ◽  
Vol 9 (2021) ◽  
pp. 13-26
Author(s):  
Raúl Marrero-Fente

This work examines the construction of an etiology or fable of origins by Silvestre de Balboa in Espejo de paciencia (1608). From the use of classical mythology, Balboa assigns a new symbolic value to Cuban nature that allows us to see the landscape based on an insular autochthonous feeling, marking the difference with the European landscape.


2017 ◽  
Author(s):  
AWEJ for Translation & Literary Studies ◽  
Roumaissa Moussaoui

The sterility of twentieth century society fostered nostalgia for the values of the past and a renewed interest in classical mythology. For D. H. Lawrence (1885 –1930), myth became one of the most important elements in both his fictional and non fictional works. Taking well-known examples, he reinterpreted them as an illustration of his own personal vision. This article is limited to a study of three major fictional works: The Rainbow, Women in Love and The Virgin and The Gypsy and attempts to analyse them in the light of the Genesis myth. It hinges on the hypothesis that Lawrence, by condemning orthodox religious beliefs, formulated his own creation myth: his regenesis. He attempted to expose the false ideals of conventional society, which had for centuries destroyed man’s natural intuition, by a re-examination of the Genesis myth. By using an analytical approach, this article aims to answer several provocative questions. Firstly, how far did Lawrence succeed in undermining conventional authority? Secondly, how successful was he in formulating his philosophy of regenesis? Thirdly, to what extent can this philosophy be seen as an answer to the problems of the age?


2020 ◽  
Vol 40 (2) ◽  
pp. 174-193
Author(s):  
Kirk Essary

Abstract The purpose of this essay is to evaluate the manner in which Erasmus employs examples from and the genres of classical mythology in order to explain the emotions, but also to show how he utilizes affective meanings of myths to describe current events. Given Erasmus’ influence, and the burgeoning field of emotions history, my aim is to interject Erasmus more fully into the ongoing conversation about the ways in which emotions were understood in the past. I will do so by considering 1) his adaptation of Quintilian’s taxonomy of emotions as either tragic or comic; 2) his use of classical literature to explore and explain the emotions; and 3) his affective analysis of what he deems the “tragedy” of Martin Luther’s reform movement.


Author(s):  
Mary Jane West-Eberhard

Part II is about origins: how do new traits arise from old phenotypes? People of all ages are fascinated by the question of origins. Origins are the common concern of evolutionists and creationists, of ethnic historians, of Mormon geneologists and the Daughters of the American Revolution, of adopted children searching for their biological parents— indeed, of all who have wondered where Johnny got his patience, his sense of humor, or his big nose. Darwin was a clever publicist when he titled his most famous book The Origin of Species. He touched deep human chords by discussing not only the origin of species but the origin of marvellously complex morphological and psychological traits—specialized limbs, sexual behavior, intelligence, heroism, and the vertebrate eye, to mention just a few. Research on selection and adaptation may tell us why a trait persisted and spread, but it will not tell us where a trait came from. This is why evolutionary biology inevitably intersects with developmental biology, and why satisfactory explanations of ultimate (evolutionary) causation must always include both proximate causes and the study of selection. Novel traits originate via the transformation of ancestral phenotypes during development. This transformational aspect of evolutionary change has been oddly neglected in modern evolutionary biology, even though it is an integral part of human curiosity about origins in other fields. From classical mythology to modern-day childrens’ books, origins are explained in terms of transformations of the phenotype, alongside attention to developmental mechanisms and adaptive functions. Consider this excerpt from The Apeman’s Secret (Dixon, 1980), a Hardy Boys adventure book: . . . [T]he Apeman hated cruelty of any kind. Whenever he saw crooks or villians do something nasty to a helpless victim, he would fly into a rage. This would change his body chemistry and cause him to revert to the savage state. . . .


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