Myth and Literature

The corpus of narratives produced in Germany since 1943 about the battle of Stalingrad appears as a multifaceted "grand narrative" in which historiographical and mythical morphology coexist. The Nazi myth of Stalingrad contributed to shaping the cultural memory of the event during the war, and historians lately integrated that myth into the historical discourse about the "overcoming of the past" (Vergangenheitsbewältigung). In the meantime, hundreds of veterans published their witness-accounts about the great battle, blending the two spheres of history and myth on the level of storytelling. While historiographical discourse aims to consolidate positive knowledge of the battle in terms of chronology, witness-narratives blur chronological storytelling with the mythical archetypes of conquest, defeat, fall, and resurrection. I will examine the morphological characteristics of the "grand narrative" of Stalingrad by combining the notion of "structure" (Koselleck) with that of the narrative archetype (Frye) and by integrating these tools with the theory of adaptive and evolutional narratives (Carrol; Scalise-Sugyjama) to claim that the "grand narrative" of Stalingrad can be read as the mythic-historical account of how the German community survived defeat and was reborn from its own ashes.

In this article I attempt to outline Walter Benjamin's peculiar notion of "myth" through a reading of his essay on Goethe's "Elective Affinities" and referring to Jean-Luc Nancy's idea of an "interruption of myth" (developed in his book "La communauté désœuvrée").

Niniejsza praca ma na celu przedstawienie teorii mitotwórczej J. R. R. Tolkiena, z perspektywy jej wymiaru duchowego. Od czasów antycznych teorie, tudzież filozofie, opierały się na myśleniu abstrakcyjnym i miały za zadanie wyjaśnienie ówczesnemu człowiekowi otaczającej go rzeczywistości. Nie inaczej było z Tolkienowską teorią, na potrzebę której ukuł swój termin Mitopoeia. „Duchowy wymiar Tolkienowskiej Teorii Mitotwórczej” – tłumacząc tytuł tej pracy na język Polski – przekłada się na wiele sfer życia Tolkiena. Pierwsza z tych płaszczyzn, to przypisywany mu przez niektórych krytyków program filozoficzny. Na tym wymiarze skupia się pierwszy rozdział tej pracy: „The Philosophical Disenchantment.” Jednak jak sugeruje tytuł, stanowi on zaledwie tło wszelkich dalszych poszukiwań, gdyż oferuje badaczom Tolkienowskiej myśli jedynie jej racjonalizację i demitologizację. Życiowa pasja Tolkiena, filologia komparatywna, daje wystarczające zrozumienie jego fenomenu, a przynajmniej zdaniem kilku krytyków. Niezaprzeczalnie stanowiła ona inspirację, a zarazem była narzędziem, którego Tolkien użył podług swej ogromnej wiedzy z zakresu językoznawstwa. Pomimo, iż w tej pracy „Comparative Philology” jest omawiana w drugiej kolejności, to właśnie ta dyscyplina była źródłem znajomości filozofii u Tolkiena. Podążając krokami Tolkieniany nie można jednak na tym poprzestać. Trzeci wymiar, jakże metafizyczny i filozoficzny w swych założeniach i implikacjach to odkrycie Owena Barfielda, znajomego Tolkiena. Barfield odkrył Teorię „Jedności Semantycznej,” co Tolkienowi przyszło łatwo przyjąć do wiadomości: język jako narzędzie może również być transcendentny, ze względu na swe początki. Dla Tolkiena była to jedna z tych rzeczy, która pozwoliła mu uwierzyć w smoki. „Philological Philosophy: Let There Be Dragons” – jest zatem łącznikiem między dwoma światami. Jednakże Tolkien nie był byle fantastą, oderwanym od ziemi. Teoria Barfielda, obudziła w nim nadzieję. Pomimo to, tak jak każdy rozsądny i racjonalny człowiek Tolkien musiał dowiedzieć się, „czy to prawda.” Potrzebował czegoś, aby idee odnieść do nie tyle rzeczywistego doświadczenia, ile prawdy. Prawda, bowiem wyzwala. Mimo nieustannego negowania jego wiary, to właśnie ona umożliwiła mu dalsze rozważanie tych teorii. I nie da się inaczej wytłumaczyć jego mitotwórstwa, jak przez uznanie jego wiary. Miłości do Boga, która była tak głęboka, że aż sięgała wiedzy teologicznej. Tego, między innymi, tyczy ostatni rozdział tej pracy: „Myth Becomes Truth.”
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This chapter analyses the relationship between beliefs in the spirits of nature and the dead and the conception of hero among the Humangili, a community located in Ataúro Island, Timor-Leste. For this purpose I discuss the concept of culture, the influence of Lisan, the notion of person, the symbolism of the given name, the meaning of physical death, the hierarchical system, the relationship between soul and body, and the impacts of adopting Christianity, while also presenting local stories and myths, the journey of the Humangili’s hero, the notion of order and social stability, as well as the perceptions about the supernatural world and its influence in the world of the living. Overall, the ideas about the meaning of hero are part of a complex system that contributes to the maintenance of dominant narratives about local customs, cosmogonies, values and hierarchies, the perception of individual and collective identity, and the feeling of stability and social unity.

In archaic and classical iconography, eminent figures, such as the Olympian gods, are often represented seated on thrones. This symbol of power, however, is also regularly used by ancient authors and artists as an allegory of punishment associated to a hybris committed towards the gods –Theseus and Pirithoos on the thrones of oblivion, Hera on the golden throne. This theme alludes to the destiny of those who do not respect the laws and rules established by official authorities (divine or human).
The present article aims at studying the transformation of a typical symbol of power to an image of suffering and torture as well as determining the pictorial elements that enabled the distinction between the two themes in space (Greece and South Italy) and time (from the sixth to the fourth centuries B.C.).

RESUME
Le motif de la figure assise apparaît souvent dans l’iconographie de personnages éminents, tels les Olympiens, faisant référence à leur pouvoir. Néanmoins, ce même motif est parfois utilisé par les auteurs et les artistes antiques pour évoquer des scènes de supplice liées au châtiment d’une démesure envers les dieux –Thésée et Pirithoos sur les sièges de l’oubli, Héra sur le trône d’or– faisant allusion de façon allégorique au sort réservé aux personnes qui ne respectent pas les lois et les règles établies par la hiérarchie officielle (divine ou humaine).
Le présent article étudie la transformation d’un thème typique de pouvoir en scène de châtiment et tâche de déterminer les conditions qui imposaient la diffusion de l’un ou de l’autre motif dans l’espace (Grèce et Italie du Sud) et dans le temps (du VIe au IVe siècle av. J.-C.).

The contemporary rewritings of Don Juan’s myth highlight several forms of hybridity and illustrate the stakes involved. The hybridation affects in the first place the sources of the myth since the authors appeal to numerous intertextual references. But the successive transpositions of the mythical scenario also lead to a generic hybridity. This intermediality has a reflexive dimension: it raises the question of the limits of language to talk about the myth and abolishes the frontier between fiction and critical speech.

By focussing on the dichotomized metaphorical strategy and myth creation, this study aims to analyze how the U.S. and the European Union (EU) media respond to the entrenched metaphor of migration and refugee “crisis”. In this respect, the U.S. and the EU media sources covering the time period from 2015 to 2016 were collected and analyzed in the theoretical framework of conceptual metaphor theory and critical metaphor analysis. By applying the metaphor identification procedure, it has been determined that most of the media narratives contribute to further developing the central bias of migration by means of metaphorical delegitimization that is discursively construed through the binary opposition between “them” and “us.” The metaphorical representation has been grouped into two kinds of ideologically represented story lines: (a) the myth of dehumanization, realized through the metaphors of Objects and Commodities; and (b) the myth of moral authority, realized through the metaphors of Natural Phenomena, Crime, and Terrorism. The findings have shown that most of the media narratives both delegitimize and stigmatize the status of a migrant by deeper entrenching the “outsider” stereotype and, therefore, create the general feelings of instability and intolerance within the EU.

במאמר זה אטען כי הסרט ״2001: אודיסאה בחלל״ הוא סרט דתי הן בצורתו, הן בתוכנו והן באופני התקבלותו. בהתאם לכללי סוגת המדע הבדיוני, תפאורתו מדעית אך הוא עסוק בעיקר בשאלות מטפיזיות ואפיסטמולוגיות, ולשם כך מתכתב באופן ישיר עם מגוון מסורות ומיתולוגיות דתיות, תוך כדי שהוא מאתגר את הנרטיבים הן של המדע המודרני הן של הדתות המונותאיסטיות המערביות, ושואף לייצר סינתזה מודרנית של דת, מדע וטכנולוגיה. צורתו, שפתו הסימבולית ועיסוקו בתולדות האינטיליגנציה האנושית, לצד הביקורת שלו על ״עבודת האלילים״ הטכנולוגית, הופכות אותו לטקסט שלא רק עוסק במיתוסים דתיים אלא מבקש לתפקד כמיתוס מודרני בפני עצמו, ולהעמיד את יחסי האדם והמכונה על תקנם, כמו גם את יחסי האדם עם הכרתו. המאמר מנתח את הסרט לאור קווים מנחים אלו, ובמקביל מציע ביקורת תיאולוגית על השיח המדעי-טכנולוגי של היום.

Singapore: Institute of Southeast Asian Studies / Yusof Ishak Institute, Temasek History Research Center, Temasek Working Paper Series, No. 1, 69 p.
https://www.iseas.edu.sg/articles-commentaries/temasek-working-paper-series

----- ABSTRACT: Borneo has so far remained marginal in studies on Southeast Asian peoples and tigers. While the tiger is not known to exist in Borneo today, it has a significant reality in historical traditions, oral literature, myths, beliefs, and rituals. This study combines various materials about Borneo, with a primary focus on its central regions, in order to, ultimately, try to shed light on ancient belief systems and the modalities of their evolution through time and cultural contact. It first surveys the local Felidae species, the names given to the tiger, and the presence of tiger body parts among villagers. Then, it reviews representations of the tiger in oral literature, its value as a symbol of martial manliness and, locally, its standing as a culture hero, and looks at religious beliefs, the tiger’s ambivalent nature, and its function as mediator between humans and spirits. Focusing on rituals, it then stresses its benevolence (initiation, redemption, purification), as well as its sinister facets (punishment for breach of taboos), both meant to warrant a ‘cool’ socio-cosmic balance. Next, it investigates the historical role of one chieftain named Tiger who, urging forest nomads to settle down and farm, was instrumental in the emergence of a new ethnocultural cluster’s identity, and it explores the modalities of the myth-generating conflation of historical elements with religious beliefs. Finally, it scrutinizes the tiger’s complex relationship with the moon and thunder, hinting at the pre-existence among former nomads of non-dualistic beliefs in a ‘tiger-moon-thunder’ set of deities and, touching briefly on the ‘thunder complex’ question, it stresses ambiguity and variability, reflecting the systemic cultural plasticity and singular cultural histories of these societies. Due to the study’s broad spectrum, a large reference list is appended.

The Red-Haired Woman (2016) by Orhan Pamuk mirrors the east-west dichotomy by father-son relationship. The author integrates the narratives of King Oedipus and Rostam and Sohrab in the nucleus of the text and the protagonist's experiences; thereby, he not only brings a dual approach to the question of becoming an individual but manifests the inevitability of fate via myths turning into reality. Pamuk's literary modus operandi in the novel lets coincidence find a palpable meaning and become the repetition of past incidents. Carl Gustav Jung's concepts of collective unconscious and archetype, in this respect, shed considerable light on the ways in which Pamuk's characters are led by some collectively shared entities. According to Jung, every individual possesses some reflexes, tendencies and instincts shared by all humanity and stored in the very depth of human mind. Jung argues that collective unconscious, being of primitive and universal quality, appears in dreams and myths and latently influences the way man thinks and behaves. Cem Çelik, the protagonist of The Red-Haired Woman, acts so as to exhibit this holistic influence particularly in terms of father-son relationship; to a great extent, his experiences are presented as recurrences of historical/mythical situations and occurrences that have been repeated throughout human history with cultural changes and manifested in myths. Hence, this paper aims to elucidate Pamuk's use of myths and discourses of patricide/filicide in The Red-Haired Woman through Jungian perspective.

The Portuguese modernist poet Fernando Pessoa is famous for, among other things, having created and written under the names of dozens of heteronyms.  Yes, the only book he published in his lifetime was signed with his own name. "Mensagem" - the title of the book - has received conflicting interpretations. Having discovered that Pessoa's use of myth is similar (most likely influenced by) Georges Sorel's "Refléxions sur la Violence" (Paris, 1908), in this essay I propose a reading of "Mensagem" that rescues the book from a straight nationalist reading. Pessoa aims at creating a national myth located in the future as a guiding force capable of galvanizing the Portuguese mind and mobilizing it towards the accomplishment of something that may free it from the pessimism that was stifling the nation.

Megaliths feature commonly in the folklore of indigenous peoples all over their range of occurrence. At several places in South India, the authorship of megaliths is attributed to a now extinct race of dwarves, who were endowed with superhuman strength to heft the large stones into position, and who subsequently were annihilated in a rain of fire. We have tracked this legend at several megalithic sites and present a comprehensive list of sites in this paper, as well as the local names attributed to this dwarf race. We demonstrate that the appellation "Pandu" often associated with megaliths refer to this dwarf race, and not the Pandavas of Mahabharata, or the Pandyan dynasty, as often assumed. We also conjecture if a cultural memory of an extinct dwarf hominin species could form the basis of this legend.

The paper presents possible classical inspirations of John Braine’s novel Room at the Top (1957). It is an attempt to analyses the text of the novel belonging to the so called Angry Young Period as a tragic work which translated into the reality of the late 1940s Great Britain the myth of Jason and Medea, represented in the text of the paper by its most classic rendition, the ancient tragedy by Euripides entitled Medea. The article moves on to discuss the issue of to what extent it is possible to adapt classical material, and to what extent tragedy is impossible today while any attempt of recreating it must result in a parody of the classical form.

Desde Escitia a la Península Ibérica, de la Edad de Bronce -si no antes- a los primeros siglos de nuestra Era, diversos seres antropomorfos, humanos o mitológicos, han sido representados luchando contra el grifo -id est, la grifomaquia- a lo largo de milenios y kilómetros con distintos significados, muchos de los cuales aún suponen una incógnita para la arqueología...

In this thrilling adventure tale by the father of science fiction, three men embark on an epic journey under the sea with the mysterious Captain Nemo aboard his submarine, the Nautilus. Over the course of their fantastical voyage, they encounter the lost city of Atlantis, the South Pole, and the corals of the Red Sea. Along the way, they must battle countless adversaries both human and monstrous. This triumphant work of the imagination shows the limitless possibilities of science and the dark depths of the human mind.

Il mito letterario di don Giovanni, sorto nella commedia, attorno al 1800 viene riformulato in direzione del tragico. La trasformazione inizia con la versione operistica di Mozart-Da Ponte e trova compimento nel racconto di Hoffmann, che proietta il nuovo tono tragico del finale mozartiano su tutto il mito. L’articolo intende porre in rilievo la presenza nel Don Juan di numerosi richiami intertestuali al Faust di Goethe, finora non pienamente rilevati dalla critica, attraverso i quali è possibile leggere tale riscrittura tragica come una dichiarata sintesi dei due miti, in cui don Giovanni assume il ruolo di Faust-Mefistofele e donna Anna quello di Gretchen. La riscrittura del mito culmina nel finale rispecchiamento del narratore in Anna-Gretchen. Ma il valore del tragico è relativizzato in Hoffmann dall’ironica autocoscienza dell’artista romantico: confinato nel mondo fantastico dell’arte, risulta privo di senso nella prosaica realtà della vita borghese.

In this essay, I argue that early modern poets saw Venus's reluctant lover as an image of their own ambivalent attraction to the irresistible but indecent charms of pagan myth as suggestively embodied in the sensual goddess of love. At their hands, the Adonis fable was transformed into a metamyth that spelled out the fundamental "Herculean" dilemma in which Christian poets found themselves when they approached the eminently appealing but morally problematic pagan material. Acknowledging the beguiling sensuality inherent in ancient myth, but at the same time circling about Adonis's more or less successful resistance to its temptation, early modern versions of the Venus and Adonis myth variously staged the poet's perennial dilemma between aesthetic pleasure and moral lecture, first diagnosed by Plato, reassumed by Homer exegetes of late antiquity, and later reappeared in medieval mythographers’ ambivalent apologies for the "Ouidianae falsitates et Virgilianae adinuentiones". Indeed, in the early modern period, the paradoxical figure who eschewed the most beautiful female in the universe to go hunting (and then got killed by a boar) acquired the status of a virtual literary foundation myth. With his combination of susceptibility and resistance to Venus's siren song, Adonis became a perfect symbol of early modern poets' wavering before the power of pagan myth and all the troubling connotations that it carried (paganism, sensuality, fatality, falseness, and, not the least, immorality).

It is argued in this book that empire-building and nation-building are not two opposed and entirely separated processes but more like two faces of the same process. Empire and nation-state are not two clearly opposed and incompatible polities, each one negating its opposite and each one preceding or following it in a lineal, even evolutionary temporal sequence. Correspondingly, the book supports an ‘externalist’ theory of the national identity-making which propounds the view of national iden- tity not as an inner, quasi organic growth, but as an outcome of interaction within wider imperial frameworks. Taking for its subject the case of the Slovenian national identity, it argues for the concept of imperial legacy which proves a particularly useful tool for theorizing the process of the making of national identity.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the ancient necropolis by the Damascene Gate in Jerusalem; it was discovered in 1901 by H. Vincent.
The author proposes a new interpretation of the iconographic program of the Orpheus myth used by wealthy Christians in a sepulchral context (see Olszewski M.T. «Orphée endeuillé de la mosaïque funéraire de Jérusalem», in Rey Mimoso-Ruiz, B. ed., Actes du colloque «Orphée entre Soleil et ombre», à l’Institut Catholique de Toulouse du 16 au 17 novembre 2007, Inter Lignes, numéros spécial – mars 2008, pp. 205-214, 226). He also proposes a new interpretation of the role Orpheus played in Roman funerary art, concentrating on the importance of the play on words and the visual and textual punning that was popular in ancient art and especially in funerary art. He rejects the popular interpretation of Orpheus as Christ in the Roman catacombs and proposes to interpret the image as that of Orpheus, bard of the departed souls, without any ahistorical connection with Christ. The program of the mosaic from Jerusalem is thus explained as a play on the words Orpheus-orphanos and Chiron (Chi-Rho) and Pan [Παν(τοκράτωρ)].The frequently used Christian funerary formula of resting in peace, Christ or the Lord corresponds
perfectly with the mood created around the mythical bard.
Orpheus’ universal role as singer and musician moving even the most stony of hearts, extolling the beloved departed, is absolutely justified in the context of a 6th-century Christian tomb. Orpheus is a popular and neutral figure, meaning that in effect it does not constitute a threat to Christian theology and can be tolerated by the educated Christians of Jerusalem.

Leda and the Swan is a poem by Irish poet William Butler Yeats. The poem narrates the scene of Zeus raping the Greek Princess Leda in the form of a swan and creates an extended imagery for the reader. The "Leda and the Swan" concept does not only exist in poetry but also in mythology, visual arts, and literary sources. Some minor changes in the story, overall feeling or message are present from source to source, and the idea behind the poem by Yeats is more personal than others. Leda and the Swan written by Yeats' is closely related to his perspective on life. The poem represents the idea of gyres, which is linked to the ever going cycle of history, and the ideology that small details in the past have the power to create great changes. These particular ideas conveyed to the reader by expression of cultural and mythical elements throughout the poem.  Lara Nur Tankal 2019

The present paper is  an abridged version of a detailed research paper published by  Prof.Pankaj.K.Singh,the eminent feminist  from India in the book"Women's Studies in India:Contours of Change".

An important area of search in Women's Studies has been to explore and re_read woman's representation and her location in literary and cultural discourses.Myths and legends on one hand contribute to continuity of culture and on the other hand become instruments of control by encouraging conformity to accepted social Norms and discouraging deviance.In the Indian context,these narratives represent popular consciousness as folklore and manifest particular intellectual interventions at different points of time.The juxtaposition of legendary narrative with their recent reconstructions yields fascinating revelations in the form of rewriting traditions from woman's point of view  by female and even by male authors . Hindi texts recreating segments of Ramayana, Mahabharata and vedic hymns in two poems of Rashmi Bajaj_'Tumhari Likhi' and 'Mrityorma jeevanam Gamay' and Bhishan Sahni's "Mandavi"are  instances of relocating woman across genres,cultures and time.Re_rendering of  Punjabi legend Puran bhagat by Shiv Kumar in "Luna" also furnishes an example like Bhisham Sahni where the two male writers recreate myths and legends from a woman's point of view. However ,the field warrants much further intensive research .

In this article, a research on mythical thinking –which is identified with primitive human– has been made. By comparatively examining the views of different thinkers on this manner of thinking, the missing and contradictory aspects of these views have been briefly presented. Differences and similarities between modern thinking and mythical thinking which are hypothetically suggested are philosophically investigated. Being-a-construing is emphasized as an essential characteristic feature of primitive human’s thinking. The presupposition of linearity in the historical development of thinking which is common within these thinkers opinions is criticised. By centering the recapitulation theory, a change of fragmental structure for human mind and thinking -which shapes these two ways of thinking- is offered as a suggestion gathering all the views within itself. A widely accepted approach between ontogeny and phylogeny is revised and used to explain the historical process and change of mythical and modern thinking here.

Der Zerfall der Donaumonarchie erzeugte ldentitätsdefizite, die weder in der Ersten noch in der Zweiten Republik kompensiert werden konnten. Daher wurden unterschiedliche Identitätskonzepte nicht zuletzt durch Literaten entwickelt. Die Studie liefert Analysen zu den in drei Österreichischen Romanen ('Sonne und Mond' von Albert Paris Gütersloh, 'Die Strudlhofstiege' von Heimito von Doderer, 'Die abgelegte Zeit' von Herbert Eisenreich) entwickelten Identitätsvorstellungen, die als Beitrag zur Gestaltung eines neuen Nationalgefühls begriffen werden. Die Untersuchung der den Romanen zugrundeliegenden Strategien der Wirklichkeitsmythisierung deckt ein kohärentes Modell der Österreichischen Identität auf. Die Eigenschaften dieses Modells festzuhalten und die Methoden seiner Transformation in einen literarischen Mythos von der Österreichischen Identität zu rekonstruieren, ist das Hauptanliegen dieser Arbeit.

A word-by-word explanation of the translation of the so-called creation hymn of Rigveda. The translation is very different from traditional ones.

As I demonstrate, the hymn has been completely misunderstood by previous translators.

The hymn has nothing to do with the origin or creation of the Universe. It is in fact, simply a prayer to God.

This article considers problems facing the African artist in the period shortly after independence, with a particular focus on the use of myth in Armah’s second novel, Fragments. It investigates the novel’s representation of the way myths are co-opted by the new bourgeoisie, specifically the ‘pariah literati’ in Nkrumah’s Ghana, while also suggesting the regenerative potential inherent in traditional myths that have retained their earlier force. It discusses three particular myths that are central to Fragments: the Akan myth of Mame Water and the Musician; the Melanesian myth of the cargo cult, a central myth for societies that have felt the brunt of colonialism; and what Joseph Campbell has referred to as the ‘monomyth’, the supposedly universal myth of the heroic journey. It defends Armah against the twin charges of pessimism and the ahistoricism that can arise when myth is used, in Roland Barthes’ words, as a form of cosmic conservatism. It examines the form of the novel, with reference to Modernism, Marxist ideology and socialist texts, such as Doris Lessing’s The Golden Notebook, which the protagonist Baako is reading shortly after he returns to Ghana.

Sinemada belirli mesleklere dair tekrarlanan arketipler ve stereotipler, toplumun bu profesyonelliklere bakışına ve bu mesleklerin imajlarına etki etmektedir. Gazeteciler ve basın da bundan bağımsız değildir. Bu bağlamda çalışmada, sinemada son dönemde inşa edilen gazeteci imajını belirleyebilmek açısından 2010‟dan sonra gösterime giren Spotlight, Truth ve Nightcrawler filmleri incelendi. Bu noktada Spotlight ideal kahraman, Truth eksik kahraman, Nightcrawler ise kötü adam (anti kahraman) örneklemi olarak ele alınarak Campbell ve Vogler bağlamında yolculukları ve Greimas bağlamında özne konumlandırılmaları incelendi. Arketipler açısından alandaki Ray, Saltzman, Ehrlich, Good gibi yazarların gazeteci imajına dair bulguları ile Lule‟nin ortaya koyduğu yedi büyük mit de temel alındı. Bunun yanında filmlerde gazeteci kategorileri olarak Demokrasinin Savunucu ve Front Page şeklinde iki yeni kategorileştirme oluşturuldu ve örneklem filmlerin bu kategorilerle uygunluğu incelendi. Ayrıca, filmlerde tekrar eden veya kırılan stereotiplere bakıldı. Sinemanın yalnızca karakter imajını etkilemekle kalmayıp sektörel ve toplumsal/siyasal söylemler de içerdiği dikkate alınarak, filmlerde bu söylemlerin nasıl inşa edildiğine bakıldı. Tüm bunların sonucunda, son dönem filmlerde gazetecilere yönelik özellikle kahraman, anti kahraman, sahtekar ve günah keçisi arketiplerinin kurulduğu, bu gazetecilerin yeni oluşturduğumuz iki kategorinin özelliklerini taşıdığı, ayrıca filmlerde gazetecilere yönelik bazı stereotipler devam ederken bazılarının kırıldığı ortaya çıktı. Filmlerde gazeteci karakterlerinin genel anlamda kahraman yolculuğu aşamalarına uyarken, bunları yer yer kırdığı da ortaya kondu. Bunun yanında filmlerde sektöre ve topluma, karakterler ve konular üzerinden özgür basın miti ve bunun önemi bağlamında mesajlar verildiği görüldü. Ayrıca, filmlerin dönemlerinin istek, özlem, kriz ve kuşkularını yansıttığı, hatta toplumsal ve siyasal gelişmelere dair öngörülerde bulunabildiği ortaya çıktı.

ABSTRTACT
Cinema helps shaping the image of journalists in the popular culture with recurring archetypes, stereotypes and stock characters in the movies. In this study, we aimed to look at the images of journalists in Hollywood movies which were screened after 2010, and in all these movies we analyzed, the journalists and the issues of the press were at the center of story. In this perspective, we have chosen Spotlight as an example of “ideal” journalist, Truth as an “imperfect” and Nightcrawler as a “villain” journalist. In the study, the protagonists were analyzed according to the stages of “heroes` journey” based on Campbell and Vogler‟s books, and also to the narrative scheme of Greimas. And in addition to that, to identify and designate which archetypes these protagonists represent, we drew upon the work of other scholars who have studied the image of journalists in the popular culture. On the other hand, we created two new characterization categories to depict journalists in the movies as “Protector of Democracy” and “Front Page” journalists. Besides that, we tried to find out whether these movies impose the recurring stereotypes, stock characters. Cinema not only shapes the image of journalists but also reinforces some myths pertaining to the sector and the society as a whole. With this perspective, we searched which myths/discourses were established and implied in these movies. In the end, we reach a conclusion that the Hollywood uses especially heroes, scoundrels, scapegoats and trickster archetypes to depict journalists. Moreover, while protagonists in Spotlight and Truth represent the “Protector of Democracy”, the main characters in Nightcrawler exemplify the “Front Page” journalists. We found that although some stereotypes on journalists persist in these movies, some others are about to dissipate. Furthermore, we see that through both heroes and scoundrels these movies imply and emphasize the importance of a free and independent press in the USA. We also notice that these movies reflect desire, fear, and expectations of their era, and foresee the future developments in the American society, as Ryan and Kellner indicated. We come up with a conclusion that while Hollywood movies reinforce and strengthen the free press myth, they also still contribute the unfavorable images of journalists with recurring archetypes and stereotypes on journalists and the press.

Dionysus, whose name we came across  on a tablet belongs to the third century  B.C., is the son of  Zeus  the divinity and Semele the mortal. Dionysus, called after many  names, was worshiped as the god of spring celebrations, theatre, viniculture and wine. There are many opinions about his origin of being Phrygian. Tragedies of Euripides and epics of Homeros  maintain this idea. As the god of nature, Dionysus symbolizes fertility. His main characteristic is his wish the people to drink wine and reach the secrets of nature. Dionysus festivals make a connection between both human to human and human to nature. Teos Dionysus Temple, where the rituals were performed in the name of god, is  the greatest temple  which was built in his  name in Greek History.

Yunan Mitolojisi'ndeki Narcissus hikâyesi, geniş bir coğrafyaya yayılan pek çok kültür üzerinde etki alanı oluşturmuştur. Narsis'in su kenarında aksini görerek kendine meftun olması, bir aşk ve taaccüple kendi aksini seyrederek geçirdiği ömrünün sonunda nergis çiçeğine dönüşmesi şeklinde seyreden hikâyesinin çeşitli akislerini dünya edebiyatının mahsullerinde görmekteyiz. Nergis'in tesirinde kalan bu mahsuller İngiliz, Alman, İsveç, Fransız, Çin, Arap ve İran edebiyatı sahalarında ortaya çıkmakla birlikte, Türk edebiyatında da dikkate ve incelemeye değer bir yer teşkil eder. Özellikle klasik Türk edebiyatında, divan şiiri alanında nergis motifi ile rediflenmiş pek çok gazel ve kaside örneğiyle karşılaşmaktayız. Bu çalışmadaki temel amaç, divan şiirindeki kullanılışının çıkış noktası konusunda mutabakat sağlanamamış olan, Yunan mitolojisinin Narkissos'u ile, bir motif ve çiçek olarak nergis'in, Batı şiirindeki ve klasik Türk edebiyatı mahsullerindeki yeri, kullanılışı ile içerdiği muhtelif ve muhtemel anlamlarının karşılaştırmalı olarak değerlendirilmesidir.

The Narcissus saga of the Greek Mythology has had a broad sphere of influence on  multitudinous cultures over a wide geography. The influence of the tale of Narcissus, which occurs as falling in love with his reflection after sighting it in the water and transformating into the flower of narcissus after spending his life by amazedly watching his reflection, can be seen remarkably in numerous works of world literature. The respective works, in which the impacts of the relevant story appears in various literaty spheres, has been given in the domain of English, German, Swedish, French, Chinese, Arabic, Persian and more, in addition to constituting a salient and prospect-worthy place in Turkish literature. Therewithal, particularly in the field of divan poetry of Classical Turkish Literature, there appears in a multitude of gazel and kaside epitomes rhymed with the motive of narcissus. That all being said, the finding of this study is an attempt to commentate and peruse the place, practice and presumptive content of Narcissus in extracts both from Western Literature and from Classical Turkish Literature comparatively.