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"October 1984." ; "Supported by funds from the Spencer Foundation, the Education Commission of the States and the U.S. Department of Education, grant no. G00-830-3600." ; Includes bibliographical references (p. 23-26). ; Mode of access: Internet.

This paper concentrates on the connectedness between myth and war. It pictures myth as a causal explanation for war, and mirrors myth's might and roles in erupting and exacerbating the war in Kosovo in 1999. Myths are often related to situations where people seek to construct, legitimize and contest their social identities and ownerships. Most societies are held together by myth-system. Within such systems, foundation myths purport to explain the origins and destiny of a nation. Although they may be false in significant ways, foundation myths are usually accepted uncritically by people. They tell dramatic stories about a nation's sacred history and this serves as the exemplary model for all significant political activities. Though the Kosovo War is traced to problematic factors that are many and mixed, but from all available indications, part of the factors for the war can be understood from the perspective of contending and competing mythological recounting by the Kosovo-Serbs and Kosovo-Albanians of their past. Both sides' arguments for right over Kosovo are based on a complex interpretation of mythological details. The big question that begs to be addressed is how to reconcile the two diametrically opposing mythical interpretations of historical and legal developments in Kosovo. The finding of this paper is that the failure to achieve a harmonization of the two mythological accounts exacerbated the hotly contested indignity question, leading Kosovo and its occupants to a catastrophic war that claimed several thousands of lives.

e study of myths has recently attracted a series attention of scholars belonging to several disciplines like Anthropology and Psychology. Of late, it has profoundly influenced the field of literary criticism by providing new norms for evaluating the works of literature and helping the critics to acquire fresh insights into the mystery of the creative process. Myth explains the complex behavior of individuals in a society which is difficult to do so by any other explanation. Myths reoccur again and again as a sort of metaphorical expression in the course of human life; they have a complex and significant symbolism. Hence modern writers use myths to express modern complexities. Many contemporary artists confirm the necessity of using myths in their creative works. Many critics have spoken on myth of introspection. The myth of introspection is akin to the concept of 'Vanaprasthashrama' of Hindus: which insists old men to handover the responsibility of running a home or kingdom to their heirs, and retire to forest, to think of the other world, and meditate of God. Many philosophers who influenced our life have stressed the importance of lonely life or to live alone in introspection. Introspection from bondage of mundane life and politics is very necessary for human health.

International audience ; Vico choose the myths of Orpheus and Amphion as the model of civilizations builders. The two ancient heroes were founders of governments because in Vico's works the first founders of civilizations were heroes and poets.

International audience ; Vico choose the myths of Orpheus and Amphion as the model of civilizations builders. The two ancient heroes were founders of governments because in Vico's works the first founders of civilizations were heroes and poets.

This paper draws on classical scholarship on myth in order to critically examine three ways in which scholars and fans have articulated a relationship between fan fiction and myth. These are (1) the notion of fan fiction as a form of folk culture, reclaiming popular story from corporate ownership; (2) the notion of myth as counterhegemonic, often feminist, discourse; (3) the notion of myth as a commons of story and a universal story world. I argue that the first notion depends on an implicit primitivizing of fan fiction and myth, which draws ultimately on the work of Gottfried von Herder in the 18th century and limits our ability to produce historically and politically nuanced understandings of fan fiction. The second notion, which is visible in the work of Henry Jenkins and Constance Penley, is more helpful because of its attention to the politics of narration. However, it is the third model of myth, as a universal story world, where we find the richest crossover between fan fiction's creative power and contemporary classical scholarship on myth, especially in relation to Sarah Iles Johnston's analysis of hyperserial narrative. I demonstrate this through some close readings of fan fiction from the Greek and Roman Mythology fandom on Archive of Our Own. I conclude the paper by extending Johnston's arguments to show that fan-fictional hyperseriality, specifically, can be seen as mythic because it intervenes not only in the narrative worlds of its source materials but also in the social world of its telling.

Since the 1970s, Buber has often been suspected of being a Volkish thinker. This essay reconsiders the affinity of Buber's late writings with Volkish ideology. It examines the allegations against Buber's Volkish thought in light of his later biblical and Hasidic writings. By illuminating the ideological affinity between these two modes of thought, the essay explains how Buber aims to depart from the dangers of myth without rejecting myth as such. I argue that Buber's relationship to myth can help us to explain his critique of nationalism. My basic argument is that in his struggle with hyper-nationalism, Buber follows the Baal Shem Tov and his struggle against Sabbateanism. Like the Besht, Buber does not reject myth, but seeks instead to repair it from within. Whereas hyper-nationalism uses myth to advance its political goals, Buber seeks to reposition ethics within a mythic framework. I view Buber's exegesis and commentaries on biblical and Hasidic myths as myth-activism.

Myth Lab Drinxx is a performance hangout created by Owen G. Parry with participants and audiences. Borrowing from the collective practices of fanfiction, Live Action Role Play (LARP), simple dance routines and improvised storytelling it invites audiences to shift usual habits of spectatorship and to hangout, lurk, and imagine. The aim: a fictional universe producing new icons, set inside but against the dominating languages and myths of the present. The challenge: to uncover new modes of attention, participation and escape in times of social distancing and increased networked surveillance. Open Access is a European collaborative project experimenting with performing arts and transmedia creation supported by the Creative Europe Programme of the European Union.

The documentary film is entitled 'Myth of Dreams '. The film confronts the issue of Chinese Mainland immigration into Hong Kong. The film looks at several viewpoints, including government agencies, activists and Mainland immigrants in Hong Kong. Chinese immigrants are often overlooked simply because they are Chinese as are all Hong Kong citizens excluding cultural identifiers which lead to discriminative practices. The film investigates the cultural biases and social exclusion these immigrants face at the policy and social level.

This article explores the view that there is a tendency in Vietnam studies to overstate the degree to which there is a coherent central body, namely the state, directing the country. It is argued that is a myth which tends to surface and resurface over time. Having stated this as our point of departure, things get more complicated. Suggesting that such a myth is operating could mean many things. For instance, we might hesitate to say that there is no central body in Vietnam not least because the formal political apparatus seems well developed. So, is it a case of the central state simply being weaker than is sometimes thought or is there something else at stake, as yet unidentified? In addition, the article's title speaks of a centralised Socialist state. This raises the question of how and in what way the association of the Vietnamese state with Socialism might be relevant to an understanding of the myth. Finally, it is worth noting that asserting the existence of a myth of a centralised state in Vietnam might seem counter-intuitive. If there is one thing that any self-respecting student of Vietnam politics knows, it is that localism is very important: recall the proverb 'the emperor's writ stops at the village gate' (phep vua thua le lang) and the many studies which have explored the phenomena of localism in Vietnam. Thus, one might be forgiven for saying: 'what risk of overstating the authority of the central state here?'. What is clear, therefore, is that having stated an initial position, it is necessary to proceed carefully and to establish very precisely the nature of the alleged myth. This is what this article seeks to do.

In an international context like that of the Cold War choices in foreign policy strongly affected matters at home. Thus, Paolo Acanfora, whose fine book is devoted to the DC under De Gasperi, focuses on the Catholic party's political and cultural elaborations in the field of international affairs.

The brief addresses some of the myths, which have induced an institutional resistance at the political and military decision levels against understanding and considering special operations as a valuable strategic tool in contemporary and future conflict prevention, crisis management, and conflict management. The brief gives a generic overview over what special operations factually are, thus focusing on developing a broader understanding of the usefulness of special operations in the strategy of a small state.

This thesis intervenes in the longstanding debate concerning the late development of myth in ancient Egypt by testing the notion that a myth is essentially narrative, and by challenging the belief that during the Old Kingdom, narrative myth only existed in the oral sphere, if at all. It does so by investigating the appearance and use of the myth of Osiris in the Pyramid Texts. Focussing on the form that mythic thought took during the Old Kingdom, it examines how this was actualised in the royal mortuary literature. This thesis argues that the unhelpful divergence of scholarship on myth, conceptualising it as either narrative, following a sequential or coherent pattern, or non-narrative, as a network of associations and connections between gods, is a result of scholars' adherence to narrow definitions of myth. The multifaceted nature of myth prevents the effective use of definitions to delineate its conceptual borers. Through a contextualising approach, this thesis looks beyond a definition as a primary analytical tool. This study has three major directions of investigation. The first is the collection, translation and analysis of the core material relating to the Osiris myth. The emphasis of this aspect of the study is on the relationships between deities, which comprise the building blocks of the mythic ideas in the Pyramid Texts. The second direction of this study involves the idea of the fluidity of the Egyptian pantheon; that different gods could undertake the same roles within the actions or events of the myth. This facet of the study will test the idea that before a canon was set, mythic ideas were fluid and subject to variation. The spatial and temporal patterns of distribution comprise the third course of analysis in this study, aimed at developing a deeper understanding of the interplay between text and monument. This thesis demonstrates that a low level of narrativity in the Pyramid Texts does not preclude the existence of a narrative mythic structure. Variability is shown to be an operative force in the Pyramid Texts, which prioritise the inclusion of different traditions over their exclusion, without concern for strict coherence. The way in which individuals chose to arrange the texts informs us about their religious priorities. The increased incorporation of the myth, reflected in the spatial and temporal distribution of the texts, shows the changing religio-political landscape of the Old Kingdom, as the Heliopolitan priesthood rose in prominence. Myth emerges from this thesis as an ever changing phenomenon, subject to the ebbs and flows of social, religious and political currents. If we are to understand its complexity we must situate it in its cultural and temporal milieu.

Environmental law is pervaded by myths—i.e., assumptions that are inaccurate, misleading, or false. These myths arise in various contexts, ranging from wetlands mitigation schemes and pollution credit trading programs to legal regimes premised on the concept of sustainability. This Article explores several myths of environmental law, their origins, and their roles. While political reasons explain in part the creation and prevalence of these myths, more is at work behind these myths than mere politics or failures to implement the law. The myths of environmental law facilitate the management of ecologically complex systems by providing a reductionist account of them. Beyond that, these myths serve important expressive functions in communicating social attitudes and values, legitimating social institutions and practices, and maintaining social solidarity. Awareness of myth's roles in environmental law can enable society to address legal shortcomings that are thereby revealed and to reject or replace those myths that undermine environmental law's goals.

The very presence of myths in psychoanalysis raises questions about their scientific status: that leads to reconsider the whole issue of Freudian mythology in a non-medical manner, by envisaging it in the more general context of modern myths, both political and artistic. Special attention is then paid to Surrealism, as the only avant-garde movement at the same time focused on psychoanalysis and politics: the role played by dreams in foundering myths is examined in both Surrealism and psychoanalysis. Surrealistic myths, such as Dalí's Grand Paranoïaque Comestible, finally prove to be so non-oedipian as the Nazi Übermensch myth; nevertheless, their comparison with Freudian mythology points out their common origin, as they all fulfilled the need of the mass society for a modern myth, able to express his deeply renewed self-awareness. Key words: Psychoanalysis - Dream - Myth - Surrealism - Modernity