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THIS ESSAY'S PURPOSE IS TO ANALYZE THE SIGNIFICANCE OF THE MYTH OF FRATRICIDE FOR CITIES AND POLITICS THROUGH UNDERSTANDING OF THE STORY IN GENESIS ABOUT CAIN WHO MURDERED HIS BROTHER ABEL AND THEN FOUNDED THE FIRST CITY, AFTER WHICH GOD EXILED HIM TO THE WILDERNESS. IT DESCRIBES HOW CITY LIFE AND POLITICS ARE SIGNIFICANTLY INTERRELATED, AND HOW URBAN LIVING CAN FOSTER BOTH ANONYMITY AND COLLECTIVE ACTIVITIES, AND REFERS TO THE FORMATION OF EARLY POLITICAL CONCEPTS IN THE ANCIENT GREEK CITY-STATES.

This article refers to a broadly understood issue of freedom usage in culture. It discusses the relationship between the Greeks and Macedonians, concerning the use of the name Macedonia and the image of Alexander the Great in the names, culture and symbols of both countries. The author reviews a problem of deriving benefits for one culture from another's heritage, exemplified by Romania as the heir of the Roman Empire. Some consideration is offered also with regard to legality of such procedures and the reaction of the international opinion. The Author provides specific and undeniable examples of relevant behaviours and approximates possible scenarios of relevant situations in the future with consequences to which such conflicts may lead.

The recallings to antiquity in Vaclav Iwaniuk's poetry assume the reinterpretations in most cases. The above review of the mythological and historical motifs taken from the Greek or Roman antiquity allows us to conclude, first of all, that they were brought up to date owing to the use of the method we have called a reinterpretation. The poet, referring to the Greek myth or the history, tried to find the patterns and the symbols that make it possible to understand the history of his nation, its past and present situation, and his own life and fate.

The purpose of this paper is to provide an overview of the use of metaphor to describe the addiction process. A number of classical myths and stories are described which have particular relevance for understanding addiction, including the Greek myths of Midas, Bacchus, Pandora, and Icarus. Recent theoretical accounts of the use of metaphors in psychotherapy and behavior change are reviewed, particularly those with implications for addictive behaviors. Clinical applications of metaphorical material are discussed in terms of a stages-of-change model. The paper concludes with a summary of a new allegorical tale, "Freddy the Flying Fish," to illustrate the construction of metaphors in the prevention and treatment of addiction.

A variety of semiotic codes, for example, proxemics, kinesics, dress code, verbal code, usually construct specific representations in audiovisual culture. This paper explores the semiotic systems in synergy which seem to lead to consolidation of the social representations of maids in pop culture texts, such as Greek movies in the 1950s and 60s (the old Greek cinema era). The research questions explore the social representations which have been constructed and the ways in which the verbal and non-verbal signs of the maids can lead to the consolidation of their social image or even to a myth construction based on specific ideological perspectives. So, how do maids act in Greek movies in the 1950s and 60s? What does their performance signify? A semiotic analysis will examine all these questions through semiotic codes in those multimodal texts (Greek movies), selected from the field of the historically Greek pop culture texts. These verbal and non-ver-bal codes work coherently to translate the depiction of Greek society and culture and to convey connotative meanings.

Compared with other ancient Greek myths of royal investiture, the Oedipus myth offers an unusual picture of masculine development. Oedipus's intellectual heroism (vis-à-vis the Sphinx) marks him as a representative of mankind's self-declared triumph over the natural world. However, in compliance with mythic logic, it also dooms him to incest and parricide. Beckett plays on this mythic inextricability of human identity and self-consciousness with incest and, especially in his famous trilogy Molloy, Malone Dies, and The Unnamable (originally published in French, 1950-52), he represents masculinity as a condition that simultaneously contests and capitulates to the apparent inevitability of myth. Beckett's characters treat the Oedipus myth (and especially Freud's interpretation of its centrality to human development) as an absurd but necessary narrative blueprint around which they can construct their own otherwise ungrounded musings on human nature and masculine identity.