Search Results (22)

Analyzing how spinners are represented in art is a way to understand the role of women’s work in the medieval and premodern periods. What do spinners signify? How is this work depicted? Who are spinners? Using a selection of imagery from northern European medieval manuscripts and premodern prints from the 14th to the 17th centuries allows us to see how pervasive the spinner was as a symbolic device. Characters such as Eve, Mary, Sardanapalus, and Hercules are unified by their spinning. As they work with the spindle and distaff, they are makers in addition to being religious or mythological figures. Though spinning does not always (if at all) appear in their textual narratives, it is part of the established iconography for each and persisted as a way to communicate or demean the value of women’s domestic enterprises. Full article

My essay aims at considering the mythological figure of Melusina and her literary development, starting from the Middle Ages up to the Romantic period. The main purpose is to determine how this fictional entity, originally regarded as the symbol of nature and its fecundity, has changed over the time in relation to the historical and cultural complex and how this has reverberated in terms of interpretation of the identity of the literary character. I will consider the medieval versions of Jean D’Arras (1392), with some consequent references to Coudrette (1401–1405) and von Ringoltingen (1456), and the German romantic fairytale rewriting of Ludwig Tieck (1800). If the thematic nucleus remains the same, the configuration of the female character changes by reflecting the new Romantic poetics in terms of interest towards femininity, subjectivity and the study of the morphology of the Earth. In particular, Melusina is no longer seen as a mere and passive object, but as a subject who for the first time, hiding in an emblematic cave, reveals to the reader her own interiority and her own truth, totally assimilating herself to the external environment. The conclusion will show how the cultural subtext modifies the interpretation of this atavistic character. Full article

The present research revisits the mythological fiction of Shakuntala: The Woman Wronged (2015) through an ecofeminist lens. Author Utkarsh Patel approaches the legendary tale of submissive Shakuntala and recreates it by arming her with the attributes of resilience, assertiveness, and compassion. Her deep bond with nature equips her with the strength to fight against patriarchal strictures. Based on the study of ecofeminism, this paper draws parallels between the exploitation of women and nature at the hands of mercenary and oppressive forces. An analysis of this work suggests that nature itself provides strength and succour and is also a source of empowerment. The strength gained through communion with nature allows her to make her voice heard. The ecofeminist perspective reveals how Shakuntala’s connection with nature offers her a sanctuary where she can explore her identity and voice, unimpeded by the norms that seek to suppress her. Her love for and defence of the environment transcends mere ecological concern—it becomes a catalyst leading to her transformation. Additionally, Shakuntala’s deep connection with Aranyani, the Forest Goddess, aligns with the concept of nature as a mother figure. By drawing attention to the intertwined dynamics of nature, nurture, and empowerment, this research celebrates and propagates the harmony between nature, feminine forces, and their transformative power. Full article

This text explores the life and legacy of Sergei Kuriokhin, a multifaceted artist who profoundly impacted Soviet and post-Soviet culture. Known for his radical experimentation in music, theater, and film, Kuriokhin defied conventional genres through his groundbreaking project, ‘Pop Mechanics’, which blended jazz, classical music, rock, circus acts, and more. His provocative performances often included surreal elements and bizarre satire, challenging cultural norms and the boundaries of Soviet censorship. Kuriokhin’s influence extended into politics, where his satirical “Lenin was a Mushroom” program questioned historical and ideological narratives, stirring public debate. His charisma, intellectual depth, and penchant for the absurd made him a central figure in Leningrad’s avant-garde scene. Kuriokhin collaborated with prominent artists and philosophers, leaving an indelible mark on Russian art and political discourse. This work, presented through the reflections of his close associates, offers insights into his lasting impact on Russian culture, blending history with personal mythologies. Full article

Around the figure of Zöhre Ana, a contemporary female mystic in Ankara, Turkey, considered by her followers a saint and known for her healing powers, has grown a substantial cult followed by hundreds if not thousands of devotees, with its own mythology, cosmology, discursive tradition, and praxis. As with any religiocultural tradition, the cult of Zöhre Ana has developed a unique experiential world at the interface between her and her followers that engages all of the senses of participants. This study explores the visual dimension of this world, consisting specifically of the visions Zöhre Ana has had, the visible setting of the cult in specially arranged physical space, and the iconography of the saint. The visual elements of these dimensions reflect the Alevi cultural–historical milieu she and most of her followers come from, and this shapes the experience that occurs as participants interact with the visual world of Zöhre Ana. Full article

This paper deals with the landscape design strategy that was followed in the proposal that was submitted to the International Architecture Competition of the New Archaeological Museum of Cyprus. The aim of this document is to analyze how landscape and architecture interact. In the author’s design proposal for the New Archaeological Museum of Cyprus, the various “gardens” integrated into the Landscape are analyzed. The concept of landscape design is related to the sacredness of trees to certain gods in Ancient Greece and Greek Mythology. The proposal addresses the symbolic meaning of trees and water. The design triggered the creation of several “gardens”: the “Sacred Garden”, the “Stone Garden”, the “Olive Garden”, the “Sacred Grove”, and the “Public Garden”, combining their soft landscapes with the hard landscape of the “Plaza” and the “Courtyard”. Each figure in the garden has a symbolic meaning that allows for a dialogue between landscape and architectural design. In addition, the findings provide valuable insights into the historical and spiritual value of landscape elements (plants, water) that are also thermal regulators for sustainable urban planning. The research results may be of value to landscape architects, architects, and landscape designers in the Mediterranean region. Full article

Between March 2018 and May 2019, the archaeological team of the Xi’an Institute of Cultural Relics Protection and Archaeology excavated a Western Han tomb complex near Bailuyuan. This paper focuses on a bronze xuan with human-shaped feet discovered at tomb M21 of the complex, offering a foundation for further comparative analysis. According to the archaeological report, the Bailuyuan tomb complex, to which tomb M21 belongs, is of high status, indicating that the occupant of the main tomb held a rank no lower than a feudal lord, while the occupants of the other tombs were also likely members of the elite class. This tomb complex may belong to the accompanying tombs of the Ba Mausoleum, as it is located less than four kilometers from the mausoleum and the main tomb M1 within the complex yielded jade burial suit fragments and bronze chime bells. The central argument of this paper posits that the unusual human-shaped decoration on this xuan provides a new perspective on the significance of human-like imagery in bronzes from this and earlier periods. Such human-shaped decorations serve not only ornamental purposes but also carry symbolic meanings on cultural and religious levels, elevating them beyond mere functionality. Findings of this paper reflect that the unusual imagery in this xuan casts new light on the meaning of human-like figures in contemporaneous and even earlier bronzes. Full article

This essay attempts to analyse the discourses, gestures and projects of the new digital galaxy’s protagonists who conceive their mission in fundamentally religious terms. It will also aim to trace the intellectual genealogy and conceptual premises of their cultural and communicative vision. This analysis will attempt to define four ideal types based on reference figures taken from mythology and religion as well as the imaginary of contemporary popular culture: Prometheus, Moses, Hermes Trismegistus and Iron Man. Full article

The article is devoted to the musical context of the works of James Joyce and Vladimir Nabokov. Joyce’s Ulysses, one of the most important literary texts of the twentieth century, is filled with musical allusions and various musical techniques. The chapter “Sirens” is the most interesting in this context as it features a “musical” form and contains a large number of musical quotations. The myth of the singing sirens, recreated by Joyce in images and characters from the modern world, encapsulates the idea of erotic seduction, bringing threat and doom to the seduced. Joyce offers a new version of the sea world filled with music, creating a system of musical leitmotifs and lexical patterns within the text. Developing the themes of temptation, the danger that temptation entails, doom, uniting with the vital forces of the world, and loneliness, Joyce in “Sirens” reveals the semantics of music, showing the specific nature of its effect on listeners. Vladimir Nabokov, who praised Ulysses and devoted a lecture to “Sirens”, is much less musical than Joyce. However, he, like Joyce, also refers to the images of singing sirens and the accompanying images of the aquatic world. One of the central, meaning-making signs in his work is the “Sirin complex”, his pseudonym. This sign, which refers to a large number of pretexts, refers in particular to the lilac (siren’) and to the mythological “musical” sirens. As in Joyce’s work, sirens are present in his texts as mermaids and naiads, or as figures of seducers who fulfil their function and bring doom. Joyce and Nabokov are also united by the presence of recurrent leitmotifs, lexical patterns, and the presence of auditory impressions in their text that are evoked by the sound of the everyday world. Full article

In response to the trend of information technology development, religions in China are undergoing a process of mediatization. This study takes the popular Chinese animated films Ne Zha: Birth of the Demon Child (哪吒之魔童降世) (2019) and New Gods: Yang Jian (新神榜: 杨戬) (2022) as research cases of mediatization of religion and conducts a focused study of the respective protagonists Ne Zha (哪吒) and Yang Jian (杨戬), both prominent figures in Chinese religious and folk traditions. Through text analysis and empirical research on the two movies and their fans, this study examines how religion is being mediatized in contemporary China in the transformation to Religion 2.0 or a type of amalgamation of real- and virtual-world practices that enact a relationship with the divine, and how this shapes identity formation for fans, who are mostly young individuals in their teens and twenties. This research argues that to obtain permission for dissemination in mainstream media and thrive in the cultural context of China, religion chooses to assume the form of media products that can bypass scrutiny that forbids “supernatural phenomena” and aligns with the mainstream ideology. It has to be a “contributory religion” that contributes to the “revitalization” of national spirit and inherited Chinese culture, not a potential “superstitious” threat to the Marxist orthodoxy. In the context of official promotion of atheism and the regulation of public discourse, animated films with themes adapted from traditional mythological and religious stories, such as Ne Zha: Birth of the Demon Child and New Gods: Yang Jian, have become a major cultural form through which people in China engage with religious symbols and narratives. The enormous success of the two movies resulted in a large population of young fans. Influenced by these films, their fans have developed an egoistic religious perspective rather than assimilating the religious or cultural messages contained in the movies. These fans may experience solace and a call to faith to some extent in their consumption of the movies, but they selectively enhance religious literacy that only meets their personal needs. Interest in divine individuals far outweighs interest in or loyalty to the religious doctrine or sect itself. Pilgrimages are undertaken to fulfill personal fantasies, and the promotion of the divine is aimed at vying for influence within fan communities. The second part of this study examines the activities of the fans that I argue are characteristic of the age of Religion 2.0. Full article

This paper explores archetypes of femininity associated with Fāṭimah al-Zahrāʾ in Twelver Shi‘i hagiography through consideration of a broad range of archetypes found in the study of narrative and mythology. Many archetypes associated with goddesses of antiquity recur in portrayals of Fāṭimah al-Zahrāʾ, suggesting either cultural influence or universal archetypes. For instance, Fāṭimah embodies a youthful, innocent, virginal goddess; Jung’s light and dark mother figure; and the lamenting goddess. Similar archetypes are projected onto other sacred women in Shi‘ism, such as Zaynab bint ʿAlī and Fāṭimah al-Maʿṣūmah. However, other feminine archetypes are absent, some are sublimated onto male figures, and some are banalized through translating the esoteric into the exoteric. This leaves gaps in the narrative models available to faithful women. Furthermore, embodying archetypes like lamenting and suffering may be undesirable. While reformist portrayals of Fāṭimah have attempted to present her as a model for female activism, historical and hagiographical archetypes of Fāṭimah inherently clash and are difficult to disentangle. Nonetheless, considering how hagiography differs from history can help understand how the mythic does not always translate well to the mundane. Full article

Antônio Francisco Lisboa (Aleijadinho) is arguably the most famous Brazilian colonial artist, known for his Baroque sculptures and architecture. The reception of his life and work, which often centered on biographical aspects such as his mestiço identity and his disability, conferred him a mythological positioning in Brazilian history. From the first sources from the 19th century to the modernist reappraisal of the Colonial Baroque in the 1920s, Aleijadinho became a foundational figure in the construction of Brazil’s post-colonial nationhood. This article contributes to the understanding of the mythification of Aleijadinho, paying special attention to how his mestiço identity was articulated in the essays of the Brazilian modernist Mário de Andrade. Full article

Myths and mythological figures serve as cultural symbols that people live by and emulate. Śravaṇ Kumār is one such mythological figure. He carried his blind parents on his shoulders and, with great hardships, tried to fulfil their wish for a pilgrimage. However, before he could complete the journey, he met a tragic end at the hands of Prince Daśrath. Due to his devotion to his parents, he is revered as an ideal youth in the Indian Hindu context. One wonders what values are conveyed about a society that has, for centuries now, idealised the tragic mythical figure of Śravaṇ Kumār? What could be the underlying fascination with the tragic story of Śravaṇ Kumār, his parents, and the guilt-ridden prince responsible for their tragic deaths and the subsequent ordeal the prince’s son Rām had to endure in accordance with a curse? This paper reinterprets this myth and examines its relevance in contemporary times. The reinterpretation of the myth is further discussed in connection with the relevant psychoanalytic identity development theories, keeping in view the adolescents in the urban metropolitan context in India. The paper concludes by discussing the significance of having relevant mythical and cultural ideals for the identity development of youth. Full article

The rubric of the presence of Buddhist sculpture in the absence of an actual deity represents an admirable aspect of Buddhist art, especially sculpture, where the best works have drawn on this paradox in an astounding fashion. An important element in the realization of this religious archetype is the Buddhist statues’ sublime poses. This article demonstrates the Buddhist posture hierarchy, based on a case study of a Tang-Dynasty Chinese Buddhist Bronze collected by the Pulitzer Arts Foundation, the posture of which is identified as lalitāsana: one leg pendant and the other bent horizontally. This article shows how this pose engendered various other compositional situations and postures popular in East Asia icon design and, moreover, that this sculpture might form part of an assemblage, where the pose indicates the central Buddha figure, to which all of the other figures are formally and doctrinally posed following a hierarchy. This article argues that Buddhist figures of different religious ranks are characterized by their pose and degree of movement. This research proves that the myriad forms of Buddhist postures and hierarchy have been devised to illustrate mythologies and philosophical, doctrinal, or social concepts, and their representations, in turn, have engendered other myths and beliefs. Full article

What I propose is that, by delving into the world of mythologies, there we might find some indications, helpful for understanding what is happening with the environment today. To do so, I will revisit a particular mythology from the South of Europe, an archaic (probably, a pre-Indo-European one), namely Basque mythology. Here, earth (lurra) appears as a maternal character (Ama-lur) and becomes, in a sense, divine in the figure of the goddess Mari, who occupied a central and predominant position in this cosmovision. Full article