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The use of mythology in renaissance is of utmost importance. The reason for mythology found in the renaissance texts was because renaissance figures thought that it is important to know about these myths and classical philosophes since ancient Greece and Rome were equipped with democracy and civilization. Thus their ideas might be used and welcomed. Marlowe makes ample use of mythology in his tragedies. However, in Faustus we see the failure of mythology. In spite of his love for mythology in this tragedy mythology fails to help Marlowe a lot in bringing it as a candidate side by side with Christianity. Though the giant of Renaissance drama welcomes mythology and proposes necromancy to his hero Faustus at the end of the tragedy it is Christianity which has the upper hand and the hero turns into a pathetic figure who is no longer arrogant and proud and is torn into pieces tragically.

This article is dedicated to an in-depth discussion of the theme "community" and the implications the multiple meanings of community hold for the field of qualitative research. This theme surfaced from Waldern's 2003 study entitled Resistance to Research in Vancouver's Downtown Eastside, which dealt with participant resistance to joining research efforts, and deserves the attention of all social researchers. In this article, the politics of the rese arch process are discussed to evaluate and suggest improvements for reflexive methods of inquiry. Determining that the idea of "community research " is a myth, this work is concerned about making qualitative methods more sensitive to social inequality without compromising their rigour

Abstract only ; This is a descriptive study on literature using content analysis. It is based on the theory on literary research set by Altick and Fenstermaker (1993) for textual study and literary history. It aimed to examine the operating social systems within the texts of Early Bisayan mythology. The basic objectives of the study were to identify the components of power, kinship, territorial, proprietary, and value systems. Manuscripts of epics, myths, and legends were collected, read, and analyzed. Characters were identified and categorized. The Power system dominates Early Bisayan mythology. The concept of a supreme god and creator was consistently observed varying only in the names given to them. The supreme power is assigned to the elements of wind and water followed by deities called diwata in Hiligaynon. The kinship system permeates mythology, among the elements, deities, and mortals. The territorial system includes dominion over a certain element, part of nature, political division, or human host habitation by spirits. The proprietary system was moderately observed among mortals through the ownership of slaves and personal properties. The value system is dominant with a clear reference to right and wrong, reward and punishment. The highest value goes to obedience and industry being the ones that deities reward. The subjugation system, was also observed in the characters of monsters or creatures that a hero is expected to defeat to be worthy of his stature. On the whole, six social systems are active in Early Bisayan mythology involving deities, mortals and supernatural characters.

Created by various human groups, caste, language and race are the forces that divide humanity. Although the above elements are meant to identify people who are divided into groups, when a serious tendency is expressed over them, they become inclined to impose self-drive and power among other ethnic and linguistic peoples, disrupting the unity of the country. Sri Lanka's chauvinist environment is evident that the oppression and suppression of people on the grounds of race and language can lead to human destruction. The creators of Eelam proclaim the vigour of racism that has killed tens of thousands of people to international nations through their writings. Thus, Thamizhnathy, the birthplace of Eelam, has conceived in his works the communal tendency that is being played out on the soil, the oppression of the Tamil people and the tragedy of migration. The purpose of this article is to examine the migration issues in his collection of poems, 'kalam uraintha sattagam'.

The use of literature is informative and instructive. Sangam songs became classical as they spoke of land and time. The novel 'Sancharam' was taken up for study in a way that exposes the nature biographical jurisprudence based on the tiṇaikkōṭpāṭṭu theories prioritized by the Sangam literature. The novel highlights the status of the traditional art of music of the South in the Karisal area and the position of the arts in relation to the fertility of the soil. Esra the novel 'Sancharam' was written by S. Ramakrishnan, popularly known as. In this book, the author has recorded that every person in the Karisal region, which is full of problems such as poverty, infertility, caste, religion, domination, politics, rule and power, is full of local characteristics and myths related to that land. The article sets out to tell the story of the Karisal myth told by the narrator through the novel and the biological properties that are realized through it.

Reprint of the 1915 ed. published by Government Printing Bureau, Ottawa, which was issued as no. 16 of Canada Geological Survey, Museum bulletin, and no. 6 of its [Memoir.no.1-14,] Anthropological series. ; Mode of access: Internet.

This article deals with a specific semiotic connection established between mythology and politics that can be helpful in terms of explaining and understanding a very complex semiotization of Kosovo in South Slavic cultures. The author analyzes a poetic definition of Kosovo offered by Matija Bećković – "Kosovo is the most expensive Serbian word", because in politics, just like in mythology, everything is about words and their meaning , and not about facts.

Abstract The modern trend of using myth in literature is not a mere ornamental but a reason to entail some political pronouncement by writers. According to some theoreticians myth is political and it has always been used to propagate political agendas. Indian Dharmasastras present code of conducts for Indian women which have been imposed by mythology. According to Indian mythology and dharmasastras Sita, Savitri who follow 'pativrata' dharma are the symbol of perfect women. Contemporary writers revisit and rewritecanonical myths. This paper analyses C.S.Lakshmi's Forest and exploreshow writers revisit and question myths and by making a new myth, how they are providing a new identity and voice to the women characters.

The study focuses on the themes of classical mythology in the Czech visual art with an emphasis on the period between the two World Wars. The depiction of classical myth in the work of modern Czech artists became not only a means of expressing their attitudes towards the tradition and the past, but was also a reflection of the current period's events as well as the tool of perception of themselves in a modern society. Some Czech works of art inspired by classical mythology are very interesting examples dealing with conventional topics, but rendered with modern art forms. Moreover, they are very surprising in their contexts and meanings. The study deals with selected works of art on the theme of classical mythology, whose origin was influenced by the contemporary political environment. These works of art mirror the turbulent atmosphere of the first half of the 20th century, and show the myth in the original Czech (or more precisely Czechoslovak) context. Emil Filla, Alois Wachsman and Vladimír Sychra, prominent representatives of the Czech mythological painting, and other artists and their work are presented here.

The study focuses on the themes of classical mythology in the Czech visual art with an emphasis on the period between the two World Wars. The depiction of classical myth in the work of modern Czech artists became not only a means of expressing their attitudes towards the tradition and the past, but was also a reflection of the current period's events as well as the tool of perception of themselves in a modern society. Some Czech works of art inspired by classical mythology are very interesting examples dealing with conventional topics, but rendered with modern art forms. Moreover, they are very surprising in their contexts and meanings. The study deals with selected works of art on the theme of classical mythology, whose origin was influenced by the contemporary political environment. These works of art mirror the turbulent atmosphere of the first half of the 20th century, and show the myth in the original Czech (or more precisely Czechoslovak) context. Emil Filla, Alois Wachsman and Vladimír Sychra, prominent representatives of the Czech mythological painting, and other artists and their work are presented here. ; 159 ; 170

Ko je mit o Evropi sprejet kot evropski utemeljitveni mit, postanejo vprašanja o izvoru in pomenu mita o Evropi in imena Evropa vprašanja o izvoru in pomenu Evrope. Ta vprašanja, ki nosijo s sabo velike teme o kulturni dediščini in rasnem izvoru, lahko zato postanejo ključnega pomena pri konstruiranju »evropske civilizacije«. Mit o Evropi deluje kot prizma, skozi katero gledamo svetovno zgodovino. Velja pa tudi, da svetovna zgodovina, kakor jo želimo videti, mesto, ki ga v njej dodelimo Evropi, in vrednotenje »evropske civilizacije«, ki ga sprejemamo, določajo interpretacije mita o Evropi in imena Evropa. Ta članek obravnava razprave med zgodovinarji antičnega sveta in mitologi v 19. in 20. stoletju, ki so se vrtele okrog izvora Evrope kot kulturno-politične entitete in kot mitskega lika, in se pri tem osredotoča na vprašanja morebitnega semitskega izvora mitske Evrope in »evropske kulture« oziroma »civilizacije« ter na meje Evrope. Politične motivacije in cilji tistih razprav so se artikulirali v kontekstu širjenja kolonializma in antisemitizma, vzpona nacizma in dveh svetovnih vojn. ; Once the myth of Europa is seen as the European foundational myth, questions regarding the origin and meaning of the myth of Europa and of the word Europa itself become questions of the origins and meaning of Europe. These questions, involving the large issues of cultural heritage and racial descent, can thus become of central importance for the construction of "European civilization". The myth of Europa functions as a prism through which we see world history. At the same time, the way one wants to see world history – and Europe's place therein – and the value one attaches to "European civilization" determine interpretations of the myth of Europa and of the name Europa. The article surveys the nineteenth- and twentieth-century debates among historians of Classical antiquity and mythologists over the origins of Europa and Europe, with a special focus on the presumed or denied Semitic origins of the mythical figure Europa and of "European culture" or "civilization", as well as on the frontiers of Europe. The politics of those debates were articulated in the context of the advancement of colonialism and anti-Semitism, the rise of Nazism, and two world wars.

Deze studie richt zich op de ideologische cultivereing van Oudnoordse mythologie in de context van IJslands groeiende nationale zelfbewustzijn in de periode tussen ca. 1820 en 1918. IJslands middeleeuwse Edda´s zijn, sinds de middeleeuwen, door Denen, Noren, Duitsers en Engelsen toegeëigend en geïnstrumentaliseerd, en werden eerder omschreven als ´Noords´, ´Scandinavisch´ of ´Germaans´ dan als IJslands. Debatten over Oudnoordse cultuur hebben niet alleen IJslandse, maar ook andere Europese vertogen over culturele identiteit mede-gevormd. In de loop van de negentiende eeuw raakten IJslandse intellectuelen geïnspireerd door het romantisch nationalisme, en begonnen zij ´hun´ culturele erfgoed voor zichzelf op te eisen, ondermeer door de mythen in nieuwe, uitgesproken IJslandse interpretatiekaders te plaatsen. De nationalisering van de Edda´s voltrok zich op de lange termijn en nam vele verschillende vormen aan in dichtkunst en de beeldende kunsten, in de vorm van ´invented traditions´ en in spirituele bewegingen, in tijdschriften en kranten, in publieke ruimtes en in academische debatten over geschiedenis, Oudnoordse filologie en folklore. Hoe verhield de IJslandse omgang met de mythen zich tot de ontwikkeling van een moderne culturele en politieke identiteit? Hoe werden uiteenlopende ideeën omtrend IJslands nationale karakter uitgedrukt en overgedragen door middel van mythologische beelden? Bijzondere aandacht wordt geschonken aan de rol van mythen in nationale vertogen, vooral in relatie tot dat andere populaire middeleeuwse genre: de Saga´s van de IJslanders. In deze studie worden deze veelzijdige ontwikkelingen (die zich voltrokken in de veelbewogen eeuw voor IJslands onafhankelijkheid van 1918) geanalyseerd en in kaart gebracht in een breed scala aan verbonden disciplines. De nationale cultivering van de Edda´s reikte veel verder dan het gebied van de literaire esthetica, en was verstrengeld met verschijdene politieke ideologieën. De interactie tussen cultuur, wetenschap en politiek vormt de kern van deze interdisciplinaire studie. ; This study focuses on the ideological cultivation of Old Norse mythology in the context of Iceland's growing national self-awareness in the period between ca. 1820 and 1918. Iceland's medieval Eddas have, in post-medieval times, been appropriated and instrumentalised by Danes, Norwegians, Germans and English, and were labelled 'Nordic', 'Scandinavian' or 'Germanic' rather than Icelandic. Debates on Old Norse-Icelandic culture have shaped not only Icelandic, but also Nordic and other European discourses on cultural identity. In the course of the nineteenth century, Icelandic intellectuals became inspired by Romantic nationalism and began to reclaim 'their' cultural heritage by placing the myths in new interpretational frameworks that were decidedly Icelandic. The long-term process of nationalising the Eddas took many forms and shapes, and manifested itself in the fields of poetry and the visual arts, invented traditions and metaphysics, in journals and newspapers, in public spaces and in academic debates on history, Old Norse philology, and folklore. How did the Icelandic treatment of Old Norse myth relate to the development of the island's cultural and political identity? How were ideas about national character negotiated through the cultivation of mythological images? Special attention is paid to the role of myth in national discourses, especially in relation to that other popular genre of medieval Icelandic literature: the Sagas of Icelanders. Now, for the first time, this multifaceted process – unfolding in the eventful century leading up to the island's independence of 1918 – is analysed and traced through a wide range of interlocking disciplines. The national cultivation of ancient myth reached well beyond the confinements of literary aesthetics, and into the arena of political ideology. It is this interplay of culture, scholarship and politics that lies at the very heart of this interdisciplinary study.

"The humble petition of the spinsters, to the legislature of Great Britain and Ireland, in session assembled. By Hypatia . 2d ed., enl." (p. 25-272) has special t.p. ; "Dialogue, physiological and theological": p. [213]-249. ; Binder's title: Superstition unveiled. ; Mode of access: Internet.

The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century.

The US American political machine has always been concerned with science and technology. This focus strengthened following World War II as the US government substantially increased funding and work force to support basic and applied research as a major means to compete with and defend against other nations. An army of people now exists within the federal government whose job is to maintain our scientific and technological superpower status. Borrowing from the notion of the rhetorical presidency, this paper discusses the rise of the techno-political presidency in American politics. More specifically, the analysis closely analyzes Truman"s "Bombing of Hiroshima" speech, examines significant Presidential scientific and technological discourse since, and speculates upon the implications of such a focus for our political future. This case highlights an important, but neglected area of rhetorical study—significant enough to warrant attention as a rhetorical sub-genre.Keywords: Presidential discourse, Rhetoric of technology, Political mythology, Genre, United States of America"Like all mythology in a politically conscious age, the idea of an electrical utopia can be and is exploited by established institutions . . . . Technology finally serves the very military and industrial policies it was supposed to prevent" (Cary and Quirk, 1970).