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Í Gesta Danorum eftir Saxo Grammaticus ásamt Snorra-Eddu og Heimskringlu, þremur af mikilvægustu sagnaritum Norðurlanda frá upphafi 13. aldar, er notast við evhemerisma til að skýra trúarbrögð hinna heiðnu forfeðra. Grundvallarhugmynd evhemerismans er sú að guðir séu menn sem hafi þóst vera eða verið endurtúlkaðir sem guðir og þetta var eitt af helstu hugmyndum sem höfundar miðalda notuðu til að skilgerina heiðna trú. Í ritgerðinni er sýnt fram á sérkenni hins norræna evhemerisma sem er birtingarmynd hugmyndarinnar frá miðöldum sem snýr ekki að grísk-rómverskum guðum. Samanburður á verkum Saxo og ritum Snorra sýna að þrátt fyrir augljós líkindi við fyrstu sýn þjóna evhemerismar frásagnir þeirra gjörólíkum hugmyndafræðilegum tilgangi: Saxo leggur árherslu á sérstöðu danska konungsríkisins sem hann vill sýna sem sjálfstætt ríki en hjá Snorra er evhemerisminn hluti orðræðu um eðli konungsvalds, takmarkanir þess og útbreiðslu. Ennfremur er rökstutt með hliðsjón af fjölmörgum miðaldatextum að evhemerísk aðferðarfræði felur ekki einungis í sér að manngera guði heldur felur hún einnig í sér algjöra endurgerð goðsagnakenndrar heimsfræði., Saxo Grammaticus’ Gesta Danorum, as well as Snorri’s Edda and Heimskringla, three of the most important texts of 13th century Scandinavia, use euhemerism to explain the religion of their pagan ancestors. This theory, according to which gods were human impostors, was one of the main tools that the medieval authors used to explain pagan religions. I show the specific features of Scandinavian euhemerism. A comparison of Saxo’s works with those of Snorri reveals that behind an apparent similarity, their euhemeristic narratives serve radically different ideological agendas: Saxo constructs the identity of the Danish Kingdom, which he wants to depict as an independent kingdom, whereas Snorri produces a discourse on the nature of royal power, its limitations, and its transmission. Furthermore, the study of the medieval corpus reveals that the euhemerist method involves not only a humanization of the gods, but a complete reconstruction of mythic cosmology.

The article continues and develops the experience of actual reading of one of the significant, but littlestudied works of the prominent Kyiv Hebrew scholar and biblical scholar of the last third of the XIX – early XX century, professor of the Kyiv Theological Academy Yakym Olesnytsky. Through the religious study reinterpretation of the structural elements of Talmudic mythology discovered by Olesnytsky, the peculiarities of the evolution of the agadic picture of the world were revealed. Being quite structurally heterogeneous, this phenomenon is characterized by “human dimension”, which is the leitmotif of universal natural harmony, social order, moral balance of good and evil. Both the actions of God, and the elements of nature, and the norms and requirements of society are full of mental, psycho-emotional tension, placed in a situation of moral choice and action, appear in fact anthropological projections, the image of human abilities. Therefore, the anthropological aspects of the transformations of agadic consciousness have been studied from the standpoint of religious studies. The transformation of psychological and anthropological motives in agadic angel and demonology and ideas about the human soul is singled out; revealed dimensions of the sacred symbolization of the unity of man with nature, humanity and the universe in the agadic doctrine of metempsychosis; anthropological and socio-political projections of agadic sacred geography and ritualized practices of contact with the afterlife as with the “Other Reality” are demonstrated; the sacred dimensions of ethno-, cultural- and religious-genesis engraved in the agada are traced., Стаття продовжує та розвиває досвід актуального прочитання нарису «Из талмудической мифологии» (1870) – однієї із малодосліджених праць видатного київського гебраїста та біблієзнавця останньої третини ХІХ – початку ХХ століття, професора Київської духовної академії Якима Олесницького. Через релігієзнавчу реінтерпретацію виявлених Олесницьким структурних елементів талмудичної міфології окреслено особливості еволюції агадичної картини світу. Цей феномен є структурно неоднорідним і тому вирізняється «людиновимірністю», яка постає лейтмотивом вселенської природної гармонії, суспільного порядку, моральної рівноваги добра й зла. І вчинки Бога, і стихії природи, і норми та вимоги соціуму, сповнені психоемоційним напруженням, уміщені у ситуації морального вибору та вчинку, постають антропологічними проєкціями, образом людських здатностей. Тож із релігієзнавчих позицій досліджено антропологічні аспекти трансформацій агадичної свідомості. Виокремлено трансформацію психологічних та антропологічних мотивів в агадичних ангело- і демонології та уявленнях про людську душу; виявлено виміри сакральної символізації єдності людини з природою, людством і Всесвітом в агадичному вченні про метемпсихоз; продемонстровано антропологічні та соціально-політичні проєкції агадичної сакральної географії та ритуалізованих практик контакту з потойбіччям як з «Іншою реальністю»; простежено закарбовані в агаді сакральні виміри етно-, культуро- та релігієгенезу.

This article publishes an annotated edition of a previously unknown account of the myth of Procne and Philomela. It is about a relatively long scholion on Soph. El. 147–149 preserved in the Moschopulean manuscript of Vienna, Österreichische Nationalbibliothek (ÖNB), Phil. gr. 161 (Diktyon 71275) (= Xr), copied by Konstantinos ὁ Κετζᾶς (ho Ketzas) in 1412. The scholion will be examined in the context of the Moschopulean manuscripts of Sophocles. The narrative will be compared with other Greek and Latin accounts of the myth of Procne and Philomela, emphasizing the characteristics of the scholion. While direct parallels to other sources cannot be spotted and its origin remains unknown, Xr’s scholion displays similarities to the Trikilinian scholia on Aristophanes’ Aves 212e, α and β (HOLWERDA 1991), Tzetzes’ scholion on Hesiod’s Opera et Dies 568 Πανδιονίς (Pandionis; 566ter GAISFORD 1823), and with Eustathios’ Commentarii ad Homeri Odysseam (II 215,13 STALLBAUM 1826)

In Romanticism, the employment of abstract concepts within an epic ‘miracle machine’ was arranged by means of personification. This was the case until Antoni Malczewski, a Polish Romantic poet, introduced free indirect speech which facilitated linking anthropomorphised abstractions with their ‘genetic subjects,’ i.e. experiencing characters. The ‘miracle machine,’ by definition, was intended to be a response to a changeable vision of the world determined by history. Yet, what can be observed in poems of the late eighteen and early nineteenth century is, though with varying intensity, the presence of mythological characters along with Christian supernatural creatures, natural phenomena as well as abstract notions attributed with human traits, and all this against religious miraculousness that blends with science fiction. In the early nineteenth century, theoreticians of epic put forward some proposals to improve the ‘miracle machine’ with a view to preserving its credibility. The proposals, similar to the theory of new mythology that originated in German Romanticism, ranged from the postulate to abandon the idea of picturing transcendence to the postulate articulating the necessity to create a community that approved of new metaphysical order built and developed by means of poetic devices.

Sözlü iletişimle insanları etkilemek mümkündür. Etkili konuşmalar yapan karizmatik liderler kitleleri peşinden sürükler. Bu gücü kullanan bazı liderler Dünya tarihini etkilemiştir. Medya araçlarından ‘film’ ise hem ses hem de görüntü ile insan zihnine ulaşabilmekte hatta insan zihninin tasavvurunu zorlayacak kadar görsel ögeyi fantastik bir evrende kurgulayabilmektedir. Dolayısıyla film sektörünün mitolojik bir mevzuyu kurgulayış şeklinin fenomenolojik açıdan analiz edilmesinin önemli olacağı var sayılmaktadır. Bu çalışmada, Dinler Tarihinin herhangi bir din veya mitolojideki tanrı kavramının gerçekten tanrı olup olmadığını sorgulamaktan kaçınan yöntembilimi doğrultusunda Thor filminde yer alan karakterlerin tanrı tipolojisi incelenmiştir. Ayrıca fenomenolojik açıdan yapılan analizlerde mitolojik, antropolojik, sosyolojik veya psikolojik indirgemelerden kaçınılmıştır. Sonuç olarak Thor filminde, farklı tipolojilerin kurgulandığı görülmekle birlikte genel olarak Odin karakterinin ‘sınayan tanrı’ tipolojisi çerçevesinde, Thor karakterinin ise ‘gelişen tanrı’ tipolojisi ekseninde kurgulandığı görülmüştür. Orijinal mitolojik anlatım ile filmin kurgusunun mukayeseli analizinde ise Kuzey mitolojisinde var olan ve ‘kutsal’ olarak algılanan unsurların ‘güç’ olgusuna irca edildiği ve ‘tanrısal varlık’ olgusunun ‘gelişmiş uzaylı’ fenomenolojisine tebdil edildiği görülmüştür., It is possible to influence people through verbal communication. Leaders who make effective speeches lead the masses after them. Some leaders who wielded this power have influenced World history. Cinema, can reach the mind with both sound and image, and even fictionalize the visual element in a fantastic universe. Therefore, it is assumed that it will be important to analyze the way cinema constructs mythological subject. In this study, the god typology of the characters in the ‘Thor’ was examined in line with the methodology of the History of Religions, which avoids questioning whether the concept of god in any religion or mythology is god. As a result, although it is seen that different typologies are fictionalized in the ‘Thor’, it has been seen that the ‘Odin’ is generally fictionalized within the framework of the ‘testing god’ typology, and the ‘Thor’ is fictionalized in the axis of the ‘developing god’ typology. In the comparative analysis of the original mythological narrative and the fiction of the film, it was seen that the elements existing in the Northern mythology and perceived as ‘sacred’ were relegated to the ‘power’ and the ‘divine being’ was transformed into the ‘advanced alien’ phenomenology.

Türk şiirinde çeşitli yönelimlerin ortaya çıktığı 1980 sonrası, politik söylemin ötelendiği ve estetik endişelerin merkeze alındığı bir dönemdir. Hüseyin Ferhad da bu dönemin genel eğilimlerine uygun şekilde poetik anlayışına şekil verir. Geçmişle bugünün harmanlandığı, yoğun metinlerarası göndermelerle donatılmış, kaynağını Doğu ve Batı medeniyetlerinin zengin birikiminden alan Ferhad şiiri; coğrafya, dinî değişkenler, metafizik, mitoloji, milli kültür ve toplumcu söylemin imgesel ifade biçimleriyle iç içe işlenerek özgünlük kazanır. Burada dikkat çeken temel husus ise özellikle Türk ve Yunan mitolojisindeki tipoloji ile bazen epik bazen de lirik bir atmosfer yaratılmasıdır.Bu çalışmada Hüseyin Ferhad’ın şiirlerinin temel bileşenlerinden biri olan mitolojik göndermelerin estetik değerinin tespiti ve açıklanması amaçlanmıştır. Yöntem olarak metin merkezli bir betimsel okuma tercih edilmiştir. Öncelikle şairin sanat anlayışı hakkında genel bilgilere yer verilmiş, ardından konuyla ilişkili olarak eserlerde yer alan mitolojik kullanımlar taşıdıkları edebî niteliklere göre yorumlanmıştır. Yapılan tahliller neticesinde Hüseyin Ferhad’ın şiirlerindeki mitolojik göndermelerin özgün bir göndergeler sistemi şeklinde tasarlandığı ve öz-yapı ilişkisinde belirleyici bir işleve sahip olduğu anlaşılmıştır., 1980 and later, when various aesthetic trends emerged in Turkish poetry, is a period in which political discourse was postponed and concerns were put in the center. Hüseyin Ferhad also shapes his poetic understanding in accordance with the general tendencies of this period. Ferhad's poetry, which is blended with the past and the present, equipped with intense intertextual references, and which takes its source from the rich accumulation of Eastern and Western civilizations, gains originality by intertwining with the imaginary forms of expression of geography, religious variables, metaphysics, mythology, national culture, and socialist discourse. The main point that draws attention here is the creation of an epic and sometimes lyrical atmosphere, especially with the typology in Turkish and Greek mythology.In this study, it is aimed to determine and explain the aesthetic value of mythological references, which are one of the basic components of Hüseyin Ferhad's poems. As a method, a text-centered descriptive reading was preferred. First of all, general information about the poet's understanding of art was given, and then the mythological uses in the works related to the subject were interpreted according to their literary qualities. As a result of the analyzes made, it was understood that the mythological references in Hüseyin Ferhad's poems were designed as a unique referent system and had a decisive function in the content-structure relationship.

Prispevek razčlenjuje slovenske strašljive folklorne pripovedi, saj skuša uzavestiti starodavno (to je posebej poudarjeno, ker danes nastaja in obstaja nova mitologija!) mitološko plast iz slovenskega kulturnega okolja v fazi njenega razkrajanja. To se dogaja z racionalizacijo strašljivih vtisov in nenavadnih doživetij, ki jih prizadeti, potem ko se umirijo, navadno odpravijo z ugotovitvijo: prepričati se moraš! The article analyses Slovene folk horror stories, bringing into awareness the ancient (this needs to be emphasised, since today new mythologies are constantly being born) mythological layer of the Slovene cultural environment during its decomposition. This happens through the rationalisation of the frightening impressions and unusual experiences of those affected who, once they have calmed down, dismiss them by saying that they need to convince themselves that it really happened.

Depuis l’étude novatrice de Hilary Fraser dans The Victorians and Renaissance Italy (1992), de nombreux critiques ont exploré la manière dont les écrivains et les artistes du XIXe siècle tentèrent de comprendre, mythologiser et réinventer la Renaissance italienne à leur propre époque. Bien qu’il existe encore peu de travaux sur la peinture d’Evelyn De Morgan (1855-1919), ses œuvres sont des exemples frappants de cette fascination culturelle. En effet, elles révèlent une connaissance approfondie des Maîtres anciens et une compréhension fine des récits mythologiques aux sources de la peinture de la Renaissance, associées à la maîtrise du style esthétique typique de la fin de l’époque victorienne. À partir de la réévaluation décisive de Botticelli par Walter Pater en 1870 (« Sandro Botticelli »), De Morgan se confronte au peintre florentin en tant que « force culturelle » et s’inspire de la « fraîcheur » de son œuvre ainsi que de sa qualité « poétique » ou « visionnaire ». Pourtant, comme chez la plupart des esthètes, la réflexion sur le passé dans les œuvres de De Morgan devient également une manière de reconsidérer le présent et de regarder vers l’avenir. En examinant Ariane à Naxos, Déjanire et Flore, cet article analyse la manière dont Evelyn De Morgan s’approprie les récits mythologiques pour concentrer l’attention sur les figures féminines et proposer un point de vue féminin. En réinterprétant des figures clés de la mythologie grecque, telles qu’Ariane à Naxos et Déjanire de Calydon, De Morgan réoriente les récits d’Ovide (Les Héroïdes, Les Fastes et Les Métamorphoses), pour réhabiliter les femmes en tant que sujets, peintres et spectatrices. Elle contribue ainsi à la création d’une histoire féminine de la Renaissance. Since Hilary Fraser’s pioneering work on The Victorians and Renaissance Italy (1992), many critics have explored the ways in which nineteenth-century writers and artists understood, mythologized, and reinvented the Italian Renaissance for their own era. Though Evelyn De Morgan (1855-1919) is an artist who has not received much scholarly attention so far, her paintings are exemplary instances of this cultural fascination, as they combine a deep knowledge of the Old Masters, an appreciation for mythological narratives as thematic sources of Renaissance painting, and a striking late-Victorian Aestheticist manner. Following Water Pater’s decisive revaluation of Botticelli, De Morgan grapples with the Florentine painter as a “force in general culture” and embraces the “freshness” and “poetic”, or “visionary”, quality of his art (Pater, “Sandro Botticelli”, 1870). Yet, as with most Aesthetes, De Morgan’s thoughtful reconsideration of the past also becomes instrumental in re-assessing the present and looking/feeling forward into the future. Focusing on Ariadne in Naxos, Deianira, and Flora, I shall examine how De Morgan reimagines mythological tales by adjusting the focus to the female figures from a female lens. Re-interpreting key figures of Greek mythology, such as Ariadne in Naxos and Deianira of Calydon, De Morgan’s paintings reorient the Ovidian narratives from Heroides, Fasti, and Metamorphoses, ultimately reclaiming women as subjects, painters, and spectators, and contributing to the creation of a female history of the Renaissance.

Od 9. godine nakon gašenja pobune Ilirik je podijeljen na dvije provincije, sa službenim nazivima Illyricum Superius za Dalmaciju te Illyricum Inferius za Panoniju. U Dalmaciji se isticala Salona kao infrastrukturno, kulturološko i strateško središte. Isticali su se i drugi gradovi koji su imali status kolonije kao i vojni tabori. Gradovi su građeni po uzoru na rimsko graditeljstvo. Forum je bio centralni dio na kojem su se nalazile sve važnije javne građevine i gdje se odvijao vjersko-religijski život grada. Prilikom iskopa otkrivene su u velikom broju skulpture koje su krasile gradove rimskih provincija, među kojima glavno mjesto zauzima kultna skulptura. Izrada samih skulptura je pratila umjetničke trendove. Postoje skulpture u svim dimenzijama, različite kvalitete produkcije. Unatoč tome umjetnička produkcija je bila bogata i ukazuje na religijske i društvene odnose tog doba. Rad je podijeljen na poglavlja u kojima se obrađuju kolonije Salona (Solin), Iader (Zadar), Aenona (Nin), Aequum (Čitluk kraj Sinja), Narona (Vid kod Metkovića), Tragurium (Trogir) te vojni tabori Tilurium (Gardun kod Trilja) i Burnum (naselje kraj Kistanja) sa pripadajućom kultnom skulpturom. Cilj ovog završnog rada je sistematizacija i analiza kultne skulpture koja je pronađena u rimskoj provinciji Dalmaciji te da se ukaže na bogatstvo baštine., Since 9 AD, after suppressing the rebellion Illyricum has been split up into two provinces, with official names of Illyricum Superius for Dalmatia and Illyricum Inferius for Panonia. In Dalmatia, Salona stood out as an infrastructural, culturological and strategic capital. There were other smaller colonies and military encampments that stood out. Cities were built based on roman architecture. Forum was the centerpiece of the town where all of the important public buildings stood and where spiritual and religious life of the town was centered. During archaeological findings many sculptures that stood amongst towns of roman provinces were discovered, most significant one being cult sculpture. Sculptures themselves followed artistic trends of the time, in many sizes and in various quality of production. Despite that, artistic production was very rich, and it points to religious and social relations of that time. Thesis is divided in chapters in which the following colonies will be covered: Salona, Iader, Aenona, Aequum, Narona, Tragurium, as well as a military camps Tilurium and Burnum with their respective cult sculpture. The goal of this thesis is to classify and analyze cult sculpture found in roman province of Dalmatia, and to point out rich and extensive cultural history of the area.

Francisco José de Goya y Lucientes (1746-1828) was a famous Spanish painter who is credited with painting a work titled Saturn Devouring One of His Sons. This work was one of over ten others known as the “Black Paintings,” which were painted on the walls of his Quinta home in Spain. The painting’s contents have been widely accepted as depicting a deity named Saturn, whose Greek equivalent is Cronus (Κρόνος). It is widely believed that the painting depicts a passage from the Greek mythological story known as the Theogony, attributed to Hesiod (ca. 700 BCE). The title and attribution stated above were assigned posthumously, not by Goya himself. No other authorship sources seem to be available. Prior investigations have relied on psychological inferences about Goya. The present investigation conducted an exhaustive literature review and then compared the painting's contents to Greek and English versions of Hesiod's Theogony. All three posited hypotheses were supported: (a) prior investigators seemed to rely on psychological analyses concerned with Goya’s mental state, despite a lack of objective evidence from the time period in question; (b) textual evidence from Hesiod’s Theogony did not provide support for Cronus being the figure depicted in the Saturn painting, and; (c) Grendel’s depiction in Beowulf aligned with the Saturn painting’s contents, textually and graphically. Further probing was conducted with regard to whether Goya could have profited from the materials and concepts found in the manuscript during his lifetime. The Beowulf manuscript was available to an artist between 1820-1823, and the plot of Beowulf was written about in European publications. Finally, the Beowulf manuscript’s contents included the Biblical story of Judith and Beowulf in the same spine, which corresponds to the adjacent location of the Judith and Saturn paintings in Goya’s Quinta home. Implications and limitations are discussed.

Certes, le cinéma d’Albert Serra accueille en son sein certaines caractéristiques de la modernité, mais c’est un cinéma qui est né au moment où cette modernité est entrée en crise et qui semble, dans le cinéma numérique, trouver de nouvelles voies. Situé à la frontière entre l’art contemporain et le cinéma d’auteur, entre l’avant-garde et le culte de la tradition, Albert Serra est devenu un paradigme du nouvel auteur contemporain, capable de trouver une esthétique singulière dans l’air du temps. Le thème qui unit les six longs métrages de sa filmographie n’est autre que la persistance du mythe. Les résonances littéraires de la figure du mythe lui permettent de montrer une série de figures archétypales perdues dans une situation de transit, dans laquelle les présences sont plus importantes que les gestes dramatiques et où les mouvements ne font que tracer des lignes de fuite devant certains paysages qui cherchent parfois un moyen d’arriver à une certaine abstraction de la figuration. El cinema d’Albert Serra recull algunes característiques de la modernitat però és un cinema que neix quan aquesta modernitat ha entrat en crisi i sembla trobar nous camins en la tecnologia digital. Situat en la frontera entre l’art contemporani i el cinema d’autor, entre l’avantguarda i el culte per la tradició, Albert Serra s’ha convertit en paradigma del nou autor contemporani que és capaç de trobar una estètica peculiar des de la que atrapa els aires del temps. El tema que uneix els sis llargmetratges de la seva filmografia no és altre que el de la persistència del mite. Les ressonàncies literàries de la figura del mite li permeten mostrar una sèrie de figures arquetípiques perdudes en una situació de trànsit, en la que les presències tenen més importància que els gestos dramàtics i els moviments no fan més que dibuixar línies de fuga davant determinats paisatges que a vegades busquen la forma com des de la figuració arribar a certa abstracció. Albert Serra’s cinema captures certain characteristics of modernity, but it is a cinema that was born when this modernity entered into crisis and seems to find new ways in digital cinema. Located on the border between contemporary art and auteur cinema, between the avant-garde and the cult of tradition, Albert Serra has become a paradigm of the new contemporary author capable of finding a singular aesthetic from the air of time. The theme that unites the six feature films in his filmography is none other than the persistence of myth. The literary resonances of the figure of the myth allow him to show a series of archetypal figures lost in a situation of transit, in which presences are more important than dramatic gestures and movements only draw vanishing lines in front of certain landscapes that at times seek a way to achieve a certain abstraction of figuration.

Depuis la moitié du XXe siècle, de nombreux chercheurs se sont penchés sur les objets et images laissés par les peuples précolombiens comme les Mochicas afin d’essayer de reconstruire ces anciennes cultures. Avec cette recherche, nous nous inscrivons dans la lignée de ces chercheurs en tentant de reconstruire le portrait de l’ontologie analogique telle que développée par les Mochicas (250-900 EC) en utilisant les représentations de crabes réalistes comme mythologiques sur le médium céramique comme sujet d’étude. Nous employons les théories de Philippe Descola, autant en ce qui concerne une définition du concept d’ontologie analogiste que pour les formes traditionnelles d’expression figurative de cette ontologie, afin d’établir une base théorique pour notre analyse. Notre étude se concentre sur un corpus de 251 céramiques que nous avons analysé pour leurs qualités formelles, iconographiques et techniques chacune de ces trois catégories nous ayant permis de mettre en lumière de riches relations ainsi qu’une panoplie d’analogies complexes. La forme des céramiques nous permet de mettre en évidence l’omniprésence visuelle de la structure analogique de l’univers mochica dans leur quotidien ainsi que les réseaux d’objets établis à travers l’espace et au coeur des différentes traditions stylistiques. L’iconographie des crabes se présente particulièrement appropriée pour cette recherche car ces êtres se situent au coeur d’un espace liminal où de nombreuses dualités se croisent. En effet, les dualismes se révèlent comme une base permettant à l’analogisme d’éclore. Les crabes sont aussi des êtres entretenant un certain nombre de relations complexes avec différents animaux et personnages mythologiques comme le Dieu à ceinture de serpents pour n’en nommer qu’un. Ainsi, les crabes occupent une place particulière au sein de la chaîne des analogies caractérisant le cosmos mochica, une chaîne qu’ils parviennent à naviguer de manière très fluide. C’est finalement avec l’étude des techniques de traitement de l’iconographie que nous parvenons à mettre en avant les analogies et relations consciemment entretenues par les potiers mochicas, ceci fait dans le but d’orienter la lecture des objets dans un sens bien précis. Ainsi, en employant ces trois catégories, nous décortiquons les différentes composantes de l’expression de l’analogisme au coeur des traditions stylistiques mochica. Avec cette recherche, nous cherchons notamment à mettre en valeur l’importance d’étudier l’art mochica de manière holiste, soit en analysant toutes les composantes de l’objet ensemble et non simplement l’image présentée dessus et ce, en lien avec différents facteurs culturels et environnementaux., Since the mid-twentieth century, many scholars have taken a closer look at the objects and images left by pre-Columbian peoples such as the Moche in an attempt to rebuild the profiles of these ancient cultures. With this research, we follow in the footsteps of these scholars by attempting to reconstruct the portrait of the analogic ontology as developed by the Moche (250- 900 CE) using realistic as well as mythological representations of crabs on the ceramic medium as our subject of study. We use the theories of Philippe Descola, both for a definition of the concept of the analogist ontology and for the traditional forms of figurative expressions of this ontology, to establish a theoretical basis for our analysis. Our study focuses on a corpus of 251 ceramics that we have analyzed for their formal, iconographic and technical qualities, each of these three categories having allowed us to bring to light some rich relationships as well as a panoply of complex analogies. The shape of the ceramics allows us to highlight the visual omnipresence of the analogic structure of the Moche universe as well as the networks of objects established across space and different stylistic traditions. The iconography of the crabs is particularly appropriate for this research because these beings are located in the heart of a liminal space where many dualities cross. Indeed, we will see that the dualisms, particularly important within the Moche cosmovision, reveal themselves as a base allowing the analogism to bloom. The crabs are also beings that maintain a number of complex relations with different animals and mythological characters such as the Snake Belt God, to name but one. Thus, the crabs hold a particular place within the chain of analogies characterizing the Moche cosmos, a place that they manage to navigate in a very fluid way. It is finally with the study of the techniques of treatment of the iconography that we manage to highlight the analogies and relationships consciously maintained by the Moche potters, this with the aim of orienting the reading of the objects in a very precise way. Thus, using these three categories, we unravel the different components of the expression of analogism at the heart of Moche stylistic traditions. With this research, we seek to emphasize the importance of studying Moche art holistically, that is, by analyzing all the components of the object together and not just the image presented on it, in relation to various cultural and environmental factors.

This thesis argues that the theological interpretation of Genesis 2–4, which describes a pristine world corrupted by evil, derives from a cosmological model and accompanying ideas of what constitutes goodness and badness that is anachronistic to the original context of the Hebrew Bible and instead arises from the reception of the material in the Hellenistic period. By comparing ideas and images from ancient Near Eastern literature that resemble those appearing in Genesis, we argue that Genesis presents a cosmology and system of values wherein an eternally pre-existing undesirable state of negation (“chaos”) is pushed to the periphery of a manufactured desirable condition of order and harmony, which in turn is threatened by an undesirable corruption from within (“evil”) and thereby under constant threat of collapsing back into nothingness unless perpetually sustained by the combined efforts of humans and gods. Within this cosmology and axiology, which is shared with the literature of the ancient Near East, Genesis presents a subversive narrative that discusses where true order in the world might be found. We argue that the Primordial History provides a deconstruction of various institutions of order found throughout the rest of the ancient Near East, especially those favoured by Israel’s Babylonian conquerors, in order to promote the Israelite covenant with Yahweh as the desirable alternative. Each institution in turn is presented as valuable and useful yet also insufficient to produce and sustain order. The pericope of Genesis 2–4—"the account of the heavens and the earth”—deconstructs the institutions of agriculture and civilization, specifically by demonstrating that, in contrast to the presentation of comparative literature, their acquisition is insufficient to elevate humans out of a state of negation, and further demonstrating that the pursuit of cultural achievement is insufficient to produce the nearest possible human approximation of eternal life.

We are surrounded by narratives about digitalization – in media, in white papers, in policies and in academic discourse. This article aims to dissect policy narratives to unveil the dominant stories associated with digitalization and open a dialogue on their consequences. The empirical material includes policy documents on digitalization at the European Union, national and sub-national levels focusing on the Swedish context. The article argues that these documents not only produce narratives of digitalization that reveal a certain orientation towards reality but also become tangible constructs. Further, despite their neutral language, they should be considered part of the problem formulation. The analysis is carried out by identifying the dominant and taken-for-granted stories, and the results show that digitalization, often portrayed as a modern and innovative concept, is frequently narrated in line with rather traditional perceptions of industrialized modernity. The results indicate that digitalization is trapped in an unambiguous and cramped dramaturgy, and if policies are enacted in the same way in practice, we will face a rather un-resilient digital modernity.

L’avere, grazie all’Edizione nazionale delle Opere di Giuseppe Parini (conclusasi, dopo dieci anni di lavoro, nell’estate del 2021 e comprendente 14 volumi di versi, prose, teatro, lettere e biografie), a disposizione testi pienamente affidabili, permette di studiare in profondità l’opera di questo grande lombardo, considerato maestro da Manzoni e da molti scrittori anche recenti. Il contributo si concentra sullo studio dell’apertura internazionale del capolavoro di Parini, Il Giorno. Quest’apertura parte dal mondo del mito appartenente alla tradizione letteraria classica che per Parini si dimostra una miniera di forme da cui attingere per arricchire il suo discorso sulla società a lui contemporanea e alla Francia che ne è cultura ispiratrice. Così un’analisi testuale dimostra, a.e., che Voltaire è accostato a Proteo (''multiforme''), lo stesso Voltaire e Jean Jacques Rousseau ad Aristippo e Diogene, e la scrittrice e cortigiana francese Ninon de Lenclos alla raffinata greca Aspasia, ma anche a Taide, personaggio del teatro latino, presente pure in Dante. L’influsso dei costumi francesi, d’altra parte, ma anche dell’esterofilia in generale, nella maniera ironica in cui vengono trattati da Parini (e cioè come un invito a consumare merci delle provenienze più varie) inducono però anche a una lettura del Giorno che riconosce in questo testo efficaci sintesi quasi ''sociologiche'', per cui, a mo’ di conclusione, ci si riconosce il fenomeno oggi noto sotto il termine di ''globalizzazione''., The new edition of Giuseppe Parini’s complete works (2021) is a mine of forms that help us understand his discourse on what was then contemporary Italian society, and France, whose culture of the time greatly influenced Italian culture. The close textual analysis presented in the paper indicates that Parini compares Voltaire to Proteus (''multiforme''); Voltaire and Jean Jacques Rousseau to Aristippus and Diogenes; the French writer and courtesan Ninon de Lenclos to the Greek Aspasia and to Thais, a character in the Latin theatre and also in Dante’s Inferno. On the other hand, the influences of French customs, but also xenophilia in general, ironically treated by Parini (i.e., as an invitation to consume goods of the most varied origins) in his masterpiece The Day, lead to a reading that recognizes an effective, almost ''sociological'' syntheses in which, by way of conclusion, we find the phenomenon today known under the term ''globalization''.

Nel romanzo in prosa noto come Suite Vulgate del Merlin (altrimenti intitolato Les premiers faiz le roy Artu dal manoscritto di Bonn), il racconto è concepito come una introduzione alle gesta di re Artù e dei suoi principali cavalieri, rappresentati come giovani protagonisti di enfances avventurose nell’atto di gettare le fondamenta del regno arturiano. Un duplice processo costruttivo sarà pertanto al centro del presente studio: la plasmazione di singoli personaggi, presi in considerazione ai loro esordi; l’edificazione di una heroic age che impone modelli e codici, una “grammatica” della mitologia arturiana., In the prose romance Suite Vulgate du Merlin (known as Les premiers faiz le roy Artu by the Bonn manuscript), the story is conceived as an introduction to the deeds of king Arthur and his main knights, staged as young protagonists of adventurous enfances laying the foundations of the Arthurian kingdom. At the center of the analysis will therefore be a double construction process: the construction of individual characters, seen in their beginning; the building of a heroic age that imposes heroic models and codes, a “grammar” for the Arthurian mythology.

The article presents the scientific reflection of the phylogeny of the human creativity idea, which revealed conformity to the general features of the personality ontogeny process. The authors have applied interdisciplinary approach and applied the general scientific objectivity principles, systematicity, historicism, pluralism worldview, also logic-semantic, systematic and prognostic approaches in studying and generalizing the investigated problem, developing the creative idea. The initial methodological guidance of the investigation assumes the existence of different, relatively independent theoretical models of object characteristics. The objectivity principle made it possible to execute an unbiased analysis of creativity scientific concepts. Systematic, logical-semantic and prognostic approaches contributed to a comprehensive analysis of the culture ontological foundations in the content creativity formation. Historical consideration of creativity problem is usually associated with the need to find out the true purpose of human beings, the way, and nature of human rootedness in the world. The scientific explication of phased changes shows that each historical level is a new distinctive system of worldview with a holistic logic of content creativity interpreting, together with its own limited understanding of the meaning of creativity on the basis of actual worldviews, goals, values, orientations., Анотація. У статті представлена наукова рефлексія філогенезу ідеї творчості людини, що виявила суголосність загальним ознакам процесу онтогенезу особистості. Застосований міждисциплінарний підхід та використано загальнонаукові принципи об՚єктивності, системності, історизму, світоглядного плюралізму, а також логіко-семантичний, системний і прогностичний підходи у вивченні й узагальненні досліджуваної проблеми розвитку ідеї творчості. Вихідна методологічна настанова дослідження передбачає наявність різних, відносно самостійних теоретичних моделей характеристики об՚єкта. Принцип об՚єктивності дав змогу провадити неупереджений аналіз наукових концепцій творчості. Системний, логіко-семантичний і прогностичний підходи сприяли комплексному аналізу онтологічних засад культури у становленні змісту творчості. Історичний розгляд проблеми творчості пов՚язаний зазвичай із необхідністю з՚ясувати справжнє призначення людського буття, способу й характеру вкоріненості людини у світі. Наукова експлікація поетапних змін свідчить, що кожен історичний рівень є новою самобутньою системою світобачення із цілісною логікою інтерпретації змісту творчості разом із власною обмеженістю розуміння сенсу творчості на основі актуальних світоглядних орієнтирів, цілей, цінностей, спрямування, досвіду втілення творчості, особливостей взаємодії людини та світу.

Marketers know that running experiments is a proven way to improve results and gain competitive advantage against rivals. Despite this knowledge - and the fact that experiments are now easier to conduct than ever before - data shows that marketers consistently under-experiment. This paper examines why this gap exists, and what can be done to close it. We do so by connecting with senior-level marketing professionals representing seven consumer-facing industries in two phases. First, through a series of interviews, we gain initial understanding of the concerns, challenges, and realities of those working in the industry. Following this phase, we then survey a larger group to corroborate and extend our initial findings, comparing between cases to identify challenges and the strategies used to overcome them. We present our findings as a series of experimentation myths before closing with a broader perspective on how organizations can infuse experimentation into their culture.

The purpose of the article is to consider the motives of the fantastic worlds of Isaac Asimov, to find out the nature of order through planned crises. The relevance lies in the popularity of such works in the literary environment. The topic combines different aspects of one concept, which has not yet been sufficiently studied. Such work makes us turn to a huge amount of methodological literature and study in detail all aspects of the study. Scientific novelty consists in the uniqueness of the work and the innovative consideration of the object of work in an aspect that has not been produced before. The practical significance lies in the further practical use of this work by everyone who wants to do such a study, as well as in the publication of this work in the public domain for acquaintance with it by people who did not have the opportunity to look at the work in a similar light., {"references":["1. Уиммер Д., Уилкинс А. «Фонд» Азимова: маленькая идея, ставшая величайшей научно– фантастической серией. – Нью-Йорк, 2011. 2. Kaplan R. The disturbing freshness of Gibbonꞌs Decline and Fall / The Atlantic Monthly, March, 1997 // And Now for The News, No. 3, p. 16–18. 3. Азимов А. Мои рекорды не побьёт никто / Пер. Ю. Зубакин. М.: Советская культура, 1989. С. 8. 4. Krugman P. Asimovꞌs Foundation Novels Grounded My Economics // Guardian, Dec. 2012, pp. 23–26."]}

This article looks at debates over human trafficking by considering the linkages between federal funding, media myths, and non-governmental organization (NGO) activities and by examining the textual and visual content of NGO websites. By highlighting the ways in which NGOs echo government communication strategies, we argue that these debates are constrained not only by the current political terrain, but also by an ingrained and problematic anti-trafficking discourse. Further, we interrogate the language and emotive appeals of NGOs that receive federal funding for anti-trafficking programming through the exploration of counter-discourses developed by both scholars and independent organizations that are critical of dominant narratives and policies. We conclude by suggesting that alternative narratives and media strategies are needed for the development of more nuanced and authentic conceptions of labour, migration, and sex work. Cet article examine les debats sur la traite des personnes en considerant des liens entre le financement federal, les mythes des medias, et les organisations nongouvernementales (ONG) et en examinant le contenu textuel et visuel des sites web des ONG. En analysant la facon dont les activites des ONG refletent les strategies de communication du gouvernement, nous soutenons que ces debats sont limites non seulement par le terrain politique actuel, mais aussi par un discours anti-trafic enracine et problematique. En outre, nous interrogeons le langage et les appels emotifs des ONG qui recoivent des fonds du gouvernement federal pour la programmation pour la lutte contre la traite a travers l’exploration de contre-discours developpes par les universitaires et les organisations independantes critiques de recits et politiques dominants. Nous concluons en suggerant que les recits alternatifs et des strategies mediatiques sont necessaires pour le development des conceptions plus nuancees et authentiques du travail, de la migration, et du travail du sexe.

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Zekiel Dirk Betzer’s oil paintings are a visual representation of transfiguration – the elevation of daily life into myth. He believes that if we defer to monolithic ideologies to narrativize our life, we are prescribed a relationship with the transcendent, rather than discovering it, leading us down the path of ideological possession. He is principally interested in how we, as both artist and audience, invent meaning and how this invention informs the way we engage with reality; especially how objects or memories become sacred.

Concerned with the representations of fruits in Greco-Roman mythology and Genesis, this paper first explores the various meanings of charis and its conceptualization, and their embodiments. It then addresses object agency, before questioning the possible propriety of certain fruits in visual and textual narratives to emanate and/or appropriate charisma. To do so, the paper presents a discussion of the linguistic and conceptual mutability and malleability of the term ‘charis’ and its conceptualization into charisma, as well as its possible manifestations or translations in fruits, thus transforming the latter into (accidental) actors. Finally, this study provides an exploratory reflection on the ambiguity and metamorphic aspect of “charismatic” fruits in the context of myths and the Genesis narrative represented in the visual arts, and their translation into fairy tale narratives and modern advertising campaigns.

The bronze robot Talos and the artificial woman Pandora are the earliest automatons in Greek mythology, first described by Hesiod in about 700 BC. In some ancient sources, the Trojan Horse was depicted as an animated statue. All three artificial creations were illustrated in vase paintings and other art. Significantly, writers and artists visualized these self-moving entities, not as results of magic, but as marvelous artifacts fabricated with familiar materials and implements. This paper shows how the crafted natures of Talos, Pandora, and the Trojan Horse, emphasized in literary descriptions, were confirmed in artistic representations alluding to the use of technology and tools, in unexpected ways. Le robot de bronze Talos et la femme artificielle Pandora sont les premiers automates de la mythologie grecque, décrits pour la première fois par Hésiode vers 700 av. Dans certaines sources antiques, le cheval de Troie était représenté sous la forme d'une statue animée. Ces trois créations artificielles ont été illustrées dans des vases et d'autres œuvres d'art. Il est important de noter que les écrivains et les artistes ont représenté ces entités autonomes non pas comme des résultats de la magie, mais comme de merveilleux artefacts fabriqués à l'aide de matériaux et d'outils familiers. Cet article montre comment la nature artisanale de Talos, de Pandore et du cheval de Troie, soulignée dans les descriptions littéraires, a été confirmée par des représentations artistiques faisant allusion à l'utilisation de la technologie et d'outils, de manière inattendue.

27 p. -- Bibliogr.: p. 25-26 The topic of women in Tolkien’s works has always been a troublesome one for many readers and scholars. The stories of Middle-earth are often described as lacking in women, perpetuating gender roles and depicting antifeminist tendencies. However, many scholars have claimed that Tolkien’s depiction of female characters has been misunderstood, for in its core lies great power retrieved and transformed from the ancient feminine models his characters are based upon. The Silmarillion is Tolkien’s most suitable work to analyse this affirmation because of the abundant female characters that take part in the story. In this dissertation I analyse how Tolkien transforms those ancient feminine models and offers his own contemporary response in The Silmarillion. For this purpose I compare seven mythological women from different literatures of the past, with seven women from The Silmarillion. I cover four different categories: Deities, Wisewomen, Victim Women and Evil Women, to give a wider and deeper understanding of the nature of Tolkien’s women. My dissertation shows that Tolkien’s development of the ancient feminine models aligns in many ways with contemporary feminist attitudes towards power, as The Feminine Principle lies always at the heart of the women of The Silmarillion.

La dona d’aigua és un personatge pertanyent a la mitologia catalana amb una gran tradició en la literatura popular dels Països Catalans. Analitzar la seva presència al territori del Pirineu resulta d’especial interès per la confluència de cultures i llengües que hi trobem. Aquest element multicultural provoca que a cada localitat les llegendes sobre dones d’aigua presentin característiques diferents, tant pel que fa al seu aspecte físic i psíquic, com respecte a l’hàbitat i als motius temàtics de les seves llegendes. En aquest article s’analitza la tradició popular lligada a la figura de la dona d’aigua al territori pirinenc a través de tres llegendes, cadascuna pertanyent a una de les regions de parla catalana de la serralada. L’objectiu és mostrar les similituds i diferències que hi ha entre elles en relació al context social i històric de cada comunitat. Al mateix temps, es pretén reflexionar sobre els missatges morals que transmeten i el rol que ocupen en la construcció cultural i identitària de la societat. The dona d’aigua (water women) is a character that belongs to Catalan mythology with a long tradition in the popular literature of the Catalan Countries. Analysing their presence in the Pyrenees is of particular interest given the confluence of cultures and languages that we can find there. This multicultural element leads to the fact that in each place, the legends about dones d’aigua present different characteristics, both in relation to their physical and psychological appearance, their habitat and the thematic motifs of their legends. To illustrate this, this article analyses the popular tradition linked to the figure of the dona d’aigua in the Pyrenean territory through three legends, each one belonging to one of the Catalan-speaking regions of the mountain range. The aim is to show the similarities and differences between them in relation to the social and historical context of each community. At the same time, the aim is to reflect on the moral messages they transmit and the role they play in the cultural and identitary construction of society.

This article reveals the semantics and origin of theonyms of the highest pantheon of the pagan tradition of the Altaians (Teleuts, Telengits, Altai-Kizhi, Chalkans, Tubalars, and Kumandins) on the basis of folklore material. The relevance of the study is associated with an increased interest in Tengrian religion among the modern peoples of the Altaic language family. The innovative character of the research lies in the application of the ethnolinguistic onomastic approach to the study of theonyms of the Altaians. The main research method is a descriptive method based on the contextual and semantic analysis of theonyms. Particular attention is paid to the internal form and origin of theonyms. The author concludes that the highest pantheon among the Altaians was formed on the basis of the cult of the sky and represents the personification of the heavenly elements, which is akin to many developed mythological systems of antiquity. Teheri ‘Sky’ stands out as the Supreme God belonging to the Upper world. The subject of deification in Altai folklore was the idea of natural elements and cosmic phenomena, which are a kind of force that can affect a person’s life. The personification of various qualities and parts of the sky was reflected in various names of celestial deities, the constituent parts of which contain the lexeme Teheri ‘Sky’. Some theonyms appeared because of the personification of celestial phenomena: thunder, lightning, and hail. The author notes that the process of identifying various deities embodying various attributive qualities and characteristics of the supreme god seems to be a historically later stage in the development of polytheism than the time of the appearance of the idea of the one god Teheri ‘Sky’. With the adoption of the ideas of other world religions (Buddhism, Islam, and Christianity) and shamanism with its polytheism in the culture of the Turkic-Mongolian peoples, the status of the deities of the Upper World was ranked, including the status of the supreme god Teheri ‘Sky’, which was replaced by other theonyms., В статье на фольклорном материале рассматриваются теонимы высшего пантеона языческой традиции тюрков Южной Сибири: телеутов, теленгитов, алтай-кижи, чалканцев, тубаларов, кумандинцев. Актуальность исследования связана с повышенным интересом к тенгрианской религии у современных народов алтайской языковой семьи. Научная новизна состоит в применении этнолингвистического ономастического подхода в изучении теонимов алтайцев. Главным методом исследования является описательный метод, основанный на контекстуальном и семантическом анализе теонимов. Особое внимание уделяется внутренней форме и происхождению теонимов. Автор приходит к выводу, что высший пантеон у алтайцев сформировался на основе культа неба и представляет собой олицетворение небесных стихий, что созвучно многим развитым мифологическим системам древности. Верховным богом, относящимся к Верхнему миру, является Теҥери «Небо». Предметом деификации в алтайском фольклоре стали представления о природных стихиях и космических явлениях, олицетворяющих некую силу, способную повлиять на жизнь человека. Персонификация различных качеств и частей неба отразилась в наименованиях небесных божеств, в составных частях которых содержится лексема теҥери ‘небо’. Некоторые теонимы появились в результате олицетворения небесных явлений: грома, молнии, града. Отмечается, что процесс выделения различных божеств, воплощающих атрибутивные качества и характеристики верховного бога, — исторически более поздний этап в развитии политеизма, нежели время возникновения представлений о едином боге Тенгери. С принятием идей других мировых религий (буддизма, мусульманства и христианства), а также шаманизма с его политеизмом в культуре тюрко-монгольских народов происходило ранжирование статуса божеств Верхнего мира, в том числе статуса верховного бога Тенгери, место которого заняли другие теонимы.

Since the beginning of the 21st century, video games have been a much discussed topic in literary and narrative research. Thanks to their technological advances, video games, once thought of only as entertainment tools, are capable of reproducing complex narratives that have significant literary, cultural, psychological, and social implications. However, the unique means by which these digital narratives are conveyed to the player have cast doubt on the validity of video games as a narrative medium. Because of this uncertainty, proponents of transmedial narratology, a branch of postclassical narratology, have taken on the development of methods for appropriate narratological analysis not only of video game narratives, but also of all non-literary narratives. In the case of the former, a transmedial narratological analysis can reveal both the unique narrative techniques that manifest themselves due to the possibilities and limitations of the digital medium, as well as the narrative techniques that the medium shares with traditional literary narrative forms. The fantasy genre of ‘computer role-playing games’ is foregrounded in most of these transmedial narratological analyses, as it consists of games that place great emphasis on their stories and fictional worlds. As can be seen in the narratological examination of some fantasy CRPGs, the developers’ intention is to immerse the player in a fictional world by interweaving realistic and fantastic environmental elements to create a logical and consistent narrative universe. By implementing game mechanics that encourage the player to determine the progression of a video game’s story(s), fantasy CRPGs can create an even higher level of narrative immersion. Video igre so že od začetka 21. stoletja pogosta tema burnih debat v literarnih in narativnih akademskih raziskavah. Zaradi tehnološke razvitosti medija, ki je v preteklosti veljal za sredstvo, namenjeno izključno zabavi, so sodobne video igre sposobne integrirati celovite zgodbe, ki lahko prenašajo tako literarne značilnosti kot tudi kulturne, psihološke in družbene vplive. Kljub temu pa je tehtnost video iger kot oblika medija za pripovedovanje zgodb večkrat dvomljiva, saj zgodbe predstavljajo s tehnikami, ki jih v tradicionalnih oblikah zgodb ne najdemo. Predstavniki transmedialne naratologije, ki je veja post-klasične naratologije, si zato prizadevajo za razvoj metod, ki bi ustrezno analizirale ne le zgodbe video iger, temveč vse zgodbe v neliterarnih medijih. V primeru video iger nam transmedialna naratološka analiza lahko ponazori tako pripovedovalne tehnike, ki so edinstvene za medij video iger, kot tudi tiste, ki jih video igre delijo s tradicionalnimi literarnimi oblikami zgodb. V ospredju transmedialnih naratoloških analiz video iger so trenutno prevladujoče fantazijske računalniške igre vlog (ang.: »computer role-playing games«), saj le-te v svoji igralnosti (ang.: »gameplay«) izrazito poudarjajo elemente zgodbe in razvoj namišljenega sveta. Iz nekaterih analiz fantazijskih računalniških iger vlog je razvidno, da ustvarjalci le-teh stremijo k čim večji poglobljenosti igralca v namišljeni svet. To dosežejo tako, da prepletejo realistične in fantazijske aspekte digitalnega okolja ter iz njih ustvarijo logičen, dosleden univerzum. Za nameček pa je potrebno poudariti tudi, da se igralčeva/igralkina poglobljenost v fantazijske igre vlog še dodatno poveča zaradi tega, ker mu/ji je omogočeno, da sam/sama narekuje potek, smer in napredek zgodbe.

For design, the myth is a source that creators turn to in order to translate into everyday life those ideas that we have genetically implanted in us and to which we feel a call or to which we refer at certain times. The myth is for every society an identity known by the vast majority, which is why it is used in design either to repeat the primordial acts of the ancestors unconsciously, or consciously to make connections between the newly created object and the mythological one, which is it ensures credibility, security and success, and, in addition to these, an emotion coming from a more or less profound experience. In order to achieve the research goal and solve the tasks set, the authors conducted quantitative studies and comparative studies concerning the main characteristics of the myth, taking several primitive myths and observing their search in modern times through their use in the advertising sphere. The research used the works of researchers Mircea Eliade, George Călinescu, Mădălina Moraru, Romulus Vulcănescu, Doina Graur. The author notes that turning to the myth in advertising, echoes of the world are vaguely preserved, which can have reverberation among the audience, and thus the impulse to buy is determined by proximity to the world a long time ago, when the heroes of the first great exploits lived in the paradise world of a fairy tale, in which good wins and after the created chaos returns to a state of balance and harmony. The product can be considered as a replacement for fantastic weapons or companions with magical functions that, together with the hero, lead to victory in the final stage or battle. The product, maybe for the client, represents the magic from fairy tales that makes the world of beginnings so attractive and seductive. În studiului “Elemente ale spaţiului mitic românesc în publicitate” se observă cum mitul şi arhetipul sunt folosite pentru promovarea unor produse ele creând astfel o punte de legătură cu lumea strămoşilor. După identificarea câtorva reclame publicitare care fac apel la substanţa mitică şi corelarea cu principalele tipuri de mituri la care fac aluzie vom observa dacă ele sunt o trimitere superficială spre mit, prin intermediul arhetipurilor, sau ele pătrund în esenţa mitului până la o decodificare subtilă şi profundă. De asemenea, urmărim şi care este relaţia personajelor care apar în publicitate cu produsul pe care-l expun publicului. În concluzie, prin abordarea mitului în publicitate sunt păstrate vagi ecouri ale unei lumi ce pot avea reverberaţii în rândul privitorilor şi, astfel, impulsul de a cumpăra să fie determinat de apropierea de lumea paradisiacă a basmului. Pentru a atinge obiectivul de cercetare şi a rezolva sarcinile stabilite, am realizat o cercetare cantitativă şi studii comparative ce au vizat caracteristicile de bază ale mitului, preluarea câtorva mituri primordiale şi observarea regăsirii acestora în contemporaneitate prin utilizarea lor în domeniul publicitar. În cursul studiului, au fost utilizate lucrările cercetătorilor Mircea Eliade, George Călinescu, Mădălina Moraru, Romulus Vulcănescu, Doina Graur. Prin abordarea mitului în publicitate sunt păstrate vagi ecouri ale unei lumi ce pot avea reverberaţii în rândul privitorilor şi, astfel, impulsul de a cumpăra să fie determinat de apropierea de lumea de demult când, eroii primelor înfăptuiri măreţe trăiau în lumea paradisiacă a basmului, în care binele învinge şi după haosul creat se revine la o stare de echilibru şi armonie. Produsul poate fi văzut ca un substitut al armelor fantastice sau a tovarăşilor cu funcţii magice care, împreună cu eroul, duc la câştigarea unei etape sau a unei bătălii finale. Produsul, poate fi pentru client, reprezentarea magiei din basme ce face atât de atractivă şi seducătoare lumea începuturilor.

The purpose of this article is to discuss the phenomenon of psychic suffering and exhaustion in the work environment, usually called burnout, in the light of Imaginary Studies, specifically, bringing homologies from Greek mythology to understand the condition and the symbolic crisis present in this phenomenon. The question raised was: what symbols can be raised and explored from the mythical martyrdoms, being these phenomena of the human psyche that do not correspond to a reading within a space-time? For our analysis, we chose the myth of the Danaids, who suffered the martyrdom of filling bottomless vats with water for all eternity. Carrying out this study from the perspective of Studies of the Imaginary, it becomes possible to understand the causes of suffering in a symbolic sense, as well as to point out ways that suggest how to deal with this current problem. The methodology chosen was a literature review and discussion of the works of authors such as Han, Contrera and Kast to reference our analyses, as well as the mythological readings of Brandão and Kerényi to investigate mythical martyrdoms., O objetivo deste artigo é discutir o fenômeno do sofrimento psíquico e exaustão no ambiente de trabalho, normalmente chamado de burnout, à luz dos Estudos do Imaginário, especificamente trazendo homologias da mitologia grega para compreender a condição e a crise simbólica presentes no ambiente de trabalho. A pergunta elencada foi: quais símbolos podem ser levantados e explorados a partir dos martírios míticos, sendo estes fenômenos da psique humana que não correspondem a uma leitura dentro de um espaço-tempo? Elegemos o mito das Danaides para sustentar nossa análise, que sofreram o martírio de preencher com água pela eternidade toneis sem fundo. Realizando este estudo na perspectiva dos Estudos do Imaginário, torna-se possível compreender as causas do sofrimento em sentido simbólico, bem como apontar caminhos que sugerem a forma de lidar com esta problemática atual. A metodologia escolhida foi revisão de literatura e discussão entre os autores – Han, Contrera e Kast para referenciar nossas análises, assim como as leituras mitológicas de Brandão e Kerényi para investigar os martírios míticos.

Qur'an is an important part of being used as a guideline for studying Islamic sciences. Qur'an is often referred to as a book that has the largest linguistic and literary criterion. As a guideline for Muslims, Qur'an contains various signs that are God's message to his people, so the signs need to be examined in depth so that the message to be delivered can be fulfilled. The sign in Qur'an can be understood with some science, one of which is the science of the sign or termed with semiology. As for one of the signs mentioned in Qur'an is the word دةَرِ َقor often translated with the word Ape. It is interesting to research, because of the many kinds, only a few animals are mentioned in Qur'an, and one of them is the ape. The discussion steps of this study are entirely carried out using qualitative research that is library research.This study examines the word ape in Qur'an with the theory of methology offered by one of the semiotics of Roland Barthes. The message or meaning contained in the word ape can be traced using Barthes mythology or the science of myth because according to Barthes, myth is a communication system to give meaning. The results of the study were on the word ape, where the meaning and explanation are segnifies in Qur’an by a contempt and humiliation., {"references":["Anggito, Albi and Setiawan, Johan. MetodePenelitianKualitatif,(1)(Sukabumi: CV Jejak, 2018).","At-Thabari, Abu Ja'far Muhammad bin Jarir. Jami' al-Bayan 'an Ta'wil Ayat Al-Qur'an Tafsir at- ThabariJilid 1.(3) (Kairo: Daar al-Hadits. 2010).","Al-Qaththan, Syaikh Manna, PengantarStudiIlmuQur'an,terj. H. AnunurRafiq El-Mazni, (1) (Jakarta: Pustaka Al-Kautsar, 2005).","Barthes, Roland. Mitologi.terj. MythologiesolehNurhadi&ASihabulMillah. (5)(Yogyakarta: KreasiWacana. 2006).","Departemen Agama RI. Al-Qur'an Tajwid&Terjemah.(3) Bandung: CV PenerbitDiponegoro. 2011)","Ibnu Katsir, Imaduddin Abu al-Fida' Isma'il.Tafsir Ibnu Katsir, terj. Tafsir Al-Qur'an Al-'Azhim, (3) (Bandung: SinarBaru Algensindo. 2000)","Kaelan, Filsafat Bahasa: SemiotikadanHermeneutika, (1) (Yogyakarta: Paradigma. 2009).","Kurniawan. Semiologi Roland Barthes. (1) (Mangelang: Indonesiatera, 2001)"]}

U radu se analizira način političkog djelovanja Srpske pravoslavne crkve na prostoru Bosne i Hercegovine od 1989. do 1996. godine i odnos Srpske pravoslavne crkve i njenih predstavnika prema Bosni i Hercegovini kao međunarodnom pravnom subjektu. Ispitati će se utjecaj institucija i predstavnka SPC na ratna dešavanja i donošenje političkih odluka vezanih za mirovne pregovore i prijedloge ustavno-pravnog uređenja Bosne i Hercegovine. Cilj rada je razmotriti odnos Srpske pravoslavne crkve (SPC) prema Bosni i Hercegovini kao subjektu međunarodnog prava te ispitati utjecaj SPC na ratna dešavanja i ukupne društveno-političke prilike u razdoblju od 1989. do 1996. godine. Jedan od ciljeva rada je ispitivanje uloge SPC u procesu homogenizacije i političke mobilizacije Srba u Bosni i Hercegovini, kao i njene uloge u dehumanizaciji nesrpskog stanovništva, te učešća u počinjenim zločinima protiv čovječnosti i međunarodnog prava u Bosni i Hercegovini. U radu se kronološko-problematskim pristupom s ciljem analiziranja službenih glasila i publikacija Srpske pravoslavne crkve te odgovaranja na postavljena istraživačka pitanja autor oslanja na teorijske postavke o socijetalnoj kontrukciji zbilje čime će biti utvrđeno na koji je način Srpska pravoslavna crkva djelovala i sudjelovala u konstrukciji „nove objektivne zbilje“ u Bosni i Hercegovini tokom kasnih osamdesetih i prve polovine devedesetih godina 20. stoljeća, te na koji je način u ovom razdoblju vrh Srpske pravoslavne crkve vršio dehumanizaciju nesrpskog i nepravoslavnog bosanskohercegovačkog stanovništva. In this work the authot writes about the political activity of Serbian Orthodox Church in Bosnia and Herzegovina from 1989. to 1996. Particular attention in this work will be paid to the role of Serbian Orthodox Church and it’s connection to the Serbian nationalistic elite during the war in Bosnia. The goal of this work is to determine the relationship of Serbian Orthodox Church and its representatives to the state of Bosnia and Herzegovina. The intent is to examine the impact of the institution and representatives of the Serbian Orthodox Church have had to the war events and policy decisions related to the peace negotiations and proposals for constitutional and legal structure of Bosnia and Herzegovina in this period. One of the goals of the paper is to examine the role of the Serbian Orthodox Church in the process of homogenization and political mobilization of Serbs in Bosnia and Herzegovina, as well as its role in dehumanizing the non-Serb population and participation in crimes against humanity and international law committed in Bosnia and Herzegovina. The time frame is taken from the period 1989 to the post-war elections in Bosnia and Herzegovina in 1996. The author uses a chronological-problematic approach with the aim of analyzing the official gazettes and publications of the Serbian Orthodox Church. In order to answer the posed questions, the author relies on theoretical assumptions of the social construction of reality. This will determine how the Serbian Orthodox Church acted and participated in the construction of the "new objective reality" in Bosnia and Herzegovina during the late 1980s and the first half of the 1990s, and how the non-Serb and non-Orthodox population of Bosnia and Herzegovina was dehumanized by the scholars and intellectuals of the Serbian Orthodox Church. In this paper, the term "political activity" is understood as the way in which the Serbian Orthodox Church, contrary to its nominal religious mission, acted as an institution that was at the forefront of the process in which faith (as a special, individual relationship to the sublime and the world) was neglected, and religion (as a general, collective, organized system) with radical nationalism moved the population to act in the service of particular goals in support of the national political project. The Serbian Orthodox Church (SOC), as we know it today, got its organizational outlines during 1920. Administratively, it is divided into dioceses that extend to the territory of Bosnia and Herzegovina. While the Serbian Orthodox Church sought its social and political position in the Yugoslav political framework in the late 1980s, the dioceses in Bosnia and Herzegovina found themselves in a new political environment with the breakup of Yugoslavia in 1991. The Serbian Orthodox Church did not recognized the independence of the Republic of Bosnia and Herzegovina. After the April of 1992. SOC continued its activities on the territory under the control of the Army of the Republika Srpska. The manifestation of an aggressive view of Serbian nationalism towards the political identity of Bosnia and Herzegovina began by the end of the 1980's, through a series of mass religious gatherings. Adoption of constitutional amendments at the end of 1989. marked the end of the one-party system in politics, which was not enough to implement the political and economical changes that many had hoped for. With the disintegration of Yugoslavia and the abandonment of the Yugoslav state framework in 1992, Bosnia and Herzegovina became an independent state, subject to international law, and was directly confronted with the separatist aspirations of the Serbian Democratic Party, which led to the war in Bosnia and Herzegovina. Since the mid-1980s, religious communities in Yugoslavia have intensified their struggle for a position of power by participating in national projects of homogenization and creation of great national states. The paper uses the sources from the Archives of Bosnia and Herzegovina, the Archives of Republika Srpska, the Archives of Tuzla Canton, the Unified Court Documentation of the International Criminal Tribunal for the Former Yugoslavia, then the material from the National Library of Serbia, University Library "Svetozar Markovic", Bosniak Institute - Adil Zulfikarpasic Foundation, National and University Libraries of Bosnia and Herzegovina, the Library of Sarajevo and the materials of the History Museum of Bosnia and Herzegovina. Previous scientific research has not offered a complete answer to the questions posed in the paper: What is the role of the Serbian Orthodox Church in the wars that followed the breakup of Yugoslavia? What is the connection between the political activity of SOC and the crimes against humanity and international law committed in Bosnia and Herzegovina during the first half of the 1990s? What is the role of ideology of Svetosavlje in relation to Bosnia and Herzegovina as the subject of international law? The first chapter presents political assumptions and a theoretical framework related to the process of "disintegration of religion" in which the priests of the Serbian Orthodox Church as organicist interpreters conveyed the metamorphosed ideology of the svetosavlje. Controversies over the conceptualization of Yugoslavia and disputes over the affirmation of the national identity of Bosnian Muslims will be outlined, thus laying the foundations for a narrative that revived the revitalization of religiosity during the 1980s through cultural activities. Special attention is paid to the role and activities of religious communities in these processes, as well as their constitutional and legal position. The second chapter discusses the changing political perception of the Serbian Orthodox Church during the 1980s. After the death of Josip Broz Tito, the Serbian Orthodox Church launched a fierce ideological struggle to change its own position of power, and compared to the previous period is trying to gain a more prominent socio-political role. Mass religious gatherings on the territory of Bosnia and Herzegovina manifested themselves as a continuation of the mass gatherings („događanje naroda“) from 1988, but under a religious cloak. This chapter discusses the aggressive expression of nationalist pretensions during the celebration of the 600th anniversary of the Battle of Kosovo, and the establishment of mythological matrices in Yugoslav society. The third chapter discusses the politicization of the return of nationalized religious property, as well as the politicization of the preservation of existing and construction of new religious buildings in Bosnia and Herzegovina in the late 1980s and early 1990s. The Serbian Orthodox Church continued its political activity through the "sacralization" of public space, political abuse of the ideology of svetosavlje through the celebrations of the anniversary of the 1690's migrations of the Serbs (Velika seoba Srba) and the jubilee of ustasha terror over the Serbs executed in 1941. The fourth chapter shows how the Serbian Orthodox Church provided ideological and political support to the process of "regionalization" of Bosnia and Herzegovina and the creation of mono-ethnic territorial organizations and the establishment and functioning of the Serbian Republic of Bosnia and Herzegovina in 1992. The fifth chapter is about the relationship of the Serbian political elite with the Serbian Orthodox Church and the attitudes of the Church towards the peace proposals and negotiations conducted from 1993 to the beginning of 1996. This chapter will examine the attitude and political perception of the Serbian Orthodox Church towards the decisions of the international community during the negotiations related to the constitutional, political and territorial organization of Bosnia and Herzegovina. The aim of this paper is to show the relationship of the Serbian Orthodox Church to Bosnia and Herzegovina as a subject of international law. The goal is to examine how the Serbian Orthodox Church sought to disrupt the modernization of society and to reduce the overall social consciousness to a primitive, premodern, mythological matrix. It will be examined whether such a society was successfully incited to war as a rite in which the Other is sacrificed with the aim to (re)homogenizate the Serbian people in one Great Serbian state.

Cet article concerne le dieu mésopotamien Nergal et le mythe Nergal et Ereškigal. Il s’agit d’une exploration de la mythologie, car, de l’avis de l’autrice, ce mythe provient de thèmes récurrents dans les mythes d’origine, comme la création et l’organisation du cosmos et de la société divine, le pouvoir et la succession entre les dieux. Les mythes cosmogoniques, et la typologie des divinités qui leur sont liées, existent partout dans le monde, ce qui fait de la comparaison une méthodologie applicable. De même, compte tenu de la nature spécifique de ces mythes, plusieurs questions de nature théorique, englobant la mythologie, la religion et la littérature, doivent être abordées. L’objectif de l’article est de proposer une lecture originale du Nergal et Ereškigal, en abordant les questions majeures de l’étude historique des religions et en s’appuyant sur la comparaison avec d’autres mythes de Mésopotamie, d’Ougarit et de Grèce. This article is about the Mesopotamian god Nergal and the myth Nergal and Ereškigal. It is an exploration of mythology, because, in the author’s view, this myth originates from recurrent themes in origin myths, like the creation and organization of the cosmos and divine society, and power and succession among gods. Cosmogonic myths and the typology of deities related to them exist all around the world, which makes comparison a viable methodology. Equally, considering the specific nature of this kind of myths, several issues of a theoretical nature, encompassing mythology, religion and literature, need to be addressed. The goal of this article is to offer an original reading of the Nergal and Ereškigal poem, by dealing with major issues in the historical study of religions and drawing on comparisons with other myths from Mesopotamia, Ugarit and Greece.

O presente ensaio é de natureza teórica e se propõe a pensar sobre os aspectos teórico-epistêmicos que constituem, na tradição do pensamento ocidental, a ideia de sujeito e de racionalidade. No desenvolvimento desta proposição há o reconhecimento de que traços míticos, presentes nas estórias greco-romanos, constituem elementos que se tornam estruturantes no ideário do pensamento moderno. O texto, em diálogo com os mitos, produz reflexões sobre a racionalidade moderna em sua instrumentalização do modo de operacionalizar a razão, na busca pela objetividade daquilo que se produz em termos de conhecimento científico e na edificação da figura de um sujeito universal e racionalizador de seus processos de conhecimento e de si mesmo. Desta leitura sobre sujeito moderno e racionalidade moderna, o texto encaminha para outras possibilidades formativas que se dão no alargamento compreensivo da razão e da constituição do sujeito, através dos anúncios de sujeito (auto)bio-gráfico e racionalidade (auto)biográfica. This essay is theoretical in nature and proposes to think about the theoretical-epistemic aspects that constitute, in the tradition of Western thought, the idea of subject and rationality. In the development of this proposition, there is the recognition that mythical traits, present in Greco-Roman stories, constitute elements that become structuring in the ideals of modern thought. The text, in dialogue with the myths, produces reflections on modern rationality in its instrumentalization of the way of operationalizing reason, in the search for the objectivity of what is produced in terms of scientific knowledge and in the construction of the figure of a universal subject and rationalizer of their knowledge processes and themselves. From this reading on the modern subject and modern rationality, the text leads to other formative possibilities that take place in the comprehensive expansion of reason and the constitution of the subject, through the announcements of (auto)biographical subject and (auto)biographical rationality. Este ensayo es de carácter teórico y propone reflexionar sobre los aspectos teórico-epistémicos que constituyen, en la tradición del pensamiento occidental, la idea de sujeto y de racionalidad. En el desarrollo de esta proposición, se reconoce que los rasgos míticos, presentes en los relatos grecorromanos, constituyen elementos que se vuelven estructurantes en los ideales del pensamiento moderno. El texto, en diálogo con los mitos, produce reflexiones sobre la racionalidad moderna en su instrumentalización del modo de operacionalizar la razón, en la búsqueda de la objetividad de lo producido en términos de conocimiento científico y en la construcción de la figura de un sujeto universal y racionalizador de sus procesos de conocimiento y de sí mismo. A partir de esta lectura del sujeto moderno y de la racionalidad moderna, el texto conduce a otras posibilidades formativas que tienen lugar en la ampliación comprensiva de la razón y la constitución del sujeto, a través de los anuncios del sujeto (auto)biográfico y la racionalidad (auto)biográfica.

Este trabajo analiza el uso del hilo en la Mitología clásica con valores y significaciones en relación con la mujer y la representación de éste en la Literatura y el Arte tradicionales, estudiando después la utilidad del hilo en el Arte contemporáneo como material no representado, sino presentado con sentido reivindicativo. Con todo ello, el estudio trata del hilo como vehículo de significado mitológico, literario y artístico y lo compara con su nuevo uso y aplicación artísticos, convertido en un elemento de denuncia y valor social., This paper analyzes the use of the thread in classical Mythology with values and meanings in relation to women and their representation in traditional Literature and Art, studying later the usefulness of the thread in contemporary Art as an unrepresented material, but presented with a claiming sense. With all this, the study treats the thread as a vehicle of mythological, literary and artistic meaning and compares it with its new artistic use and application, turned into an element of denunciation and social value., S2015/HUM-3362 Comunidad Autónoma de Madrid y el Fondo Social Europeo

It is of folkloric belief that the security of classical cryptographic protocols is automatically broken if the Adversary is allowed to perform superposition queries and the honest players forced to perform actions coherently on quantum states. Another widely held intuition is that enforcing measurements on the exchanged messages is enough to protect protocols from these attacks. However, the reality is much more complex. Security models dealing with superposition attacks only consider unconditional security. Conversely, security models considering computational security assume that all supposedly classical messages are measured, which forbids by construction the analysis of superposition attacks. Boneh and Zhandry have started to study the quantum computational security for classical primitives in their seminal work at Crypto'13, but only in the single-party setting. To the best of our knowledge, an equivalent model in the multiparty setting is still missing. In this work, we propose the first computational security model considering superposition attacks for multiparty protocols. We show that our new security model is satisfiable by proving the security of the well-known One-Time-Pad protocol and give an attack on a variant of the equally reputable Yao Protocol for Secure Two-Party Computations. The post-mortem of this attack reveals the precise points of failure, yielding highly counter-intuitive results: Adding extra classical communication, which is harmless for classical security, can make the protocol become subject to superposition attacks. We use this newly imparted knowledge to construct the first concrete protocol for Secure Two-Party Computation that is resistant to superposition attacks. Our results show that there is no straightforward answer to provide for either the vulnerabilities of classical protocols to superposition attacks or the adapted countermeasures., 46 pages

Background: Dogs are the main source of human rabies, contributing up to 99% of all rabies transmissions to humans. Though dog bite injuries to humans in India have received much attention, there are certain misconceptions. Methodology: Cross-sectional study was carried out in urban field practice area of Anakaputhur in Kancheepuram district. By purposive sampling method, 285 outpatients visiting the urban health centre during a period of two months were included as study participants. SPSS version 20 used for entering and analysis of data. Result: Among the study participants, 36.4 % participants believed that vaccine is given in the stomach, many of them followed certain food restrictions among which 65.2% participants avoided non – vegetarian after dog bite. Around 25.6% participants believed rabies is caused only by dogs and 17 % participants were not aware that rabies is caused by animals other than dog. Less than half of them only responded that they will complete the course of anti-rabies vaccine, if there are no symptoms. Conclusion: According to this study myths and misconception regarding dog bite were found to be highly prevalent. These beliefs and practices are of no use and can be harmful at times.

The present study focuses on how etymology could play an important role in the mythology of Apollo. Obviously, when it comes to the issue of the meaning of names, one often enters the realm of speculation. However, in many instances of Apollo’s mythology, etymology seems to reflect important aspects of the myth. These aspects start with Apollo’s family and birth, and continue with his role in Greek mythology. The accord between etymology and mythology appears to be more than a simple coincidence. El presente artículo estudia cómo la etimología desempeña un papel importante en la mitología de Apolo. Obviamente, cuando se trata de la etimología de los nombres, se entra a menudo en el ámbito de la especulación. Sin embargo, en muchos aspectos de la historia mítica de Apolo, la etimología parece reflejar aspectos importantes del mito, empezando con la familia y el nacimiento del dios y continuando con su papel en la mitología griega. La concordancia entre etimología y mitología no parece ser una simple coincidencia.

Purpose: To critically review data published in the recent past to scrutinize a causal relationship between retinal vascular occlusion and COVID-19. Method: A comprehensive literature search was performed on Pubmed with the key words retinal vascular occlusion, retinal vein occlusion, retinal artery occlusion, and COVID-19. Results: A total of 17 case reports were published during this period, and 10 were on retinal vein occlusion and 7 on retinal artery occlusion. Most of the published reports lacked convincing evidences in one or the other aspects, such as insufficient laboratory workup or presence of multiple confounding risk factors. Conclusion: In this index article, strength of the data is insufficient to establish a definitive cause-and-effect relationship of retinal vascular occlusive disorders with COVID-19. Hence, clinicians can continue to manage these cases according to the standard guidelines until there are more robust evidences to support this association to alter the diagnostic and treatment modalities.

Kao najekstremniji podžanr heavy metal-glazbe, black metal snažno karakteriziraju motivi uništenja, smrti i tame. Česte antikršćanske poruke i komercijalno usmjereni cilj šokiranja publike pridonijeli su općoj percepciji black metala kao izraza nihilizma, sotonizma ili transgresije. Međutim, takva stigmatizacija ne obuhvaća cjelovitost pojmova koji su glazbeno utjelovljeni s njezinim distorziranim zvukovima i vrištećim vokalom. Cilj je ovoga rada prevladati tu predodžbu da bi se prikazao dvostruki karakter izvornih motiva žanra, kako se to izražava putem arhetipskih i mitoloških referenci i koja se alternativa nihilizmu u stvari nudi. Takvo tumačenje dopušta da se uništenje pretvori u preduvjet ponovne izgradnje, smrt u preteču ponovnoga rođenja, a tama u poziv na hrabrost suočavanja sa svojim strahovima., As Heavy Metal music’s most extreme subgenre of, motives of destruction, death and darkness are largely characteristic of Black Metal. A frequently anti-Christian message and commercially driven aim to shock the audiences have led to the impression that Black Metal is an expression of nihilism, Satanism, or simple transgression. However, this stigma does not capture the entirety of the concepts musically embodied in this genre with its distortion and screamed vocals. The aim of this work is to show that there is more to this genre, and to provide a description of the dual nature of the original motifs in this genre, how they are expressed using archetype and myth, and an alternative to nihilism. It will be seen that destruction is a prerequisite for rebuilding, death a precursor of rebirth, and darkness a call to courage so that one may conquer fear by facing it.

The entire world has gotten caught and is now furious that the deadly corona virus is out. All and every person’s life across the globe has stopped. It took millions of lives already. The government of most countries agreed to follow the full lock-down of human activities due to its propensity to a high spread frequency. Therefore, this work of mine would be a accentuating the affectivity of the Aarogya Setu application in spreading realization amongst the masses that self- care in this situation of emergence is the only way not only of saving one’s own life but also of others. It would also effectively highlight that though, the use of virtual platform has benefitted all but its improper utilization can create loads of misunderstanding, confusion and can give rise to some devastating situation.

The target was to determine the place of mythology in children’s literature in this study which aimed at presenting how mythologic animals took place in works and which mythologic meanings and interpretations were laid on animals in children’s literature books. For this purpose, 61 books were read in order to determine the mythologic animals and the animals which were attributed a mythological meaning. The books belonged to Turkish Literature within the list of “100 Basic Works” that were recommended by The Ministry of Education through 2005-2018 to be read at primary schools. The elements regarding mythologic animals were determined with document analysis and interpreted through descriptive analysis. It was seen that the works of children’s literature being analysed were rich in terms of animal myth variety. Thus, it was identified that there were 24 different types of mythologic animals which were mythologically approached including dragons in the works. In the study, the bird was identified as the animal which was mentioned mythologically the most in the works with 7 different types including one of the mythological birds, Phoenix. It was found that the reason for using bird myth was the idea of flying away from troubles like a bird in our society’s subconscious. The horse and the snake were the most discussed animals within 100 Basic Works anthology after bird., Çocuk edebiyatı eserlerinde geçen hayvanlara hangi mitolojik yüklemeler ve anlamlandırmaların yapıldığını tespit etmek, mitolojik hayvanların eserlerde nasıl yer aldığını ortaya koymak amacıyla yapılan çalışmada mitolojinin çocuk edebiyatındaki yeri belirlenmeye çalışılmıştır. Bu amaçla Millî Eğitim Bakanlığının 2005-2018 yılları arasında ilköğretim okulları için okutulmasını tavsiye ettiği "100 Temel Eser” listesinde yer alan Türk Edebiyatına ait eserler (61 eser), mitolojik ve mitolojik anlam yüklenen hayvanları tespit etmek amacıyla okunmuştur. Doküman analizi ile belirlenen mitolojik hayvanlarla ilgili ögeler betimsel analiz ile yorumlanmıştır. İncelen çocuk edebiyatı eserlerinin hayvan miti çeşitliliği bakımından zengin olduğu görülmüştür. Nitekim eserlerde mitolojik hayvanlardan ejderha da dâhil olmak üzere 24 farklı türe mitolojik olarak yaklaşıldığı tespit edilmiştir. Çalışmada biri mitolojik kuş olan Zümrüdüanka da dâhil olmak üzere 7 farklı türüyle eserlerde mitolojik olarak en fazla işlenen hayvan, kuş olarak tespit edilmiştir. Kuş mitiyle toplumumuzun bilinçaltında kuş olup dertlerden uzaklaşma imajının yatmakta olduğu belirlenmiştir. At ve yılan; 100 Temel Eser seçkisinde kuştan sonra en fazla işlenen mitolojik hayvanlardır.

This research deals with the clarification of the philosophy of the dimensional mythology, the ancient graph in the architectural drawing in the interior space. The subject of this research revolves around some contemporary architects of the legacies, symbols and stories of the world’s mythology, the main structure in their designs and is expressed architecturally. Where the number of cultural heritage buried in the design of the architecture. In recent times, it has been found that modern architecture takes blocks and shapes that appear strange and new, And the presence of figurative, figurative entities in the basis of these formations link the contemporary sculptural masses with the mythology of the ancient world that appears in formal and intellectual symbolism. This research deals with the places of projection of the mythology of the ancient world on some of the concepts of contemporary architectural design from which philosophical ideas emerged within the framework of a set of heritage cultural systems. Such as religious stories, myths, and the different mythological branches of ancient civilizations. Therefore, these systems are the governing entity within the design process through the system or structure borrowed from this mythological branch.As humanity presented a legacy of beliefs and myths with which nations expressed their divergent theories about the universe, creation and the secrets of life. Man learned the methods by which this heritage was recorded in what is known as (the science of mythology or the science of collecting and knowing beliefs and myths). On tablets and murals in the form of inscriptions or transmitted orally, such as stories, or in concrete, such as monuments and excavations Where some architects see that the legacies of the past are suitable as sources of inspiration on which the design idea is based in a way that enriches the architectural work, which may be reflected on visitors by increasing interaction with the spaces of the building. An architectural characteristic of civilizations, so the mythological sources from which ideas are borrowed, which usually stand as an obstacle and a mystery that are difficult for the community of the public to understand are explored.

The authors of the article have tried to present the experience of the closeness of death in Guardini’s interpretation of Plato’s dialogues between Socrates and his devoted disciples who could not accept the decision of their master and friend. Guardini’s interpretations were written as a philosophical analysis of the state of Socrates' mind, it is not a psychological analysis of his emotions or emotional states. Guardini wishes to reveal how Socrates faces the mystery of death as a philosopher. The authors focused on the dialogues between Socrates and his disciples and how Plato as his disciple and chronicler describes his conflict with oneself and the mentality of his followers on the mythological, political and philosophical meaning of death. In line with this topic, the article is divided into four sections. The first introduces the reader to the philosophical and religious meaning of death, and the second with disclosure of myths in dialogues, Euthyphro, judges, and Crito. In the third section, the authors outline why the dialogue with Phaedo is the most important of the dialogues on the issue of death. The fourth part of the article reveals the reasons why this interpretation is crucial for the later development of Guardini’s philosophical opus., Autori članka su nastojali prikazati iskustvo blizine smrti kako ga interpretira Guardini u Platonovim dijalozima između Sokrata i njegovih vjernih učenika koji ne prihvaćaju odluku svog učitelja i prijatelja. Guardinijeve interpretacije pisane u maniri filozofske analize Sokratovog stanja uma, daleko su od psihološkog analiziranja Sokratovih emotivnih stanja. Guardini razotkriva Sokratovo suočavanje s tajnom smrti kao filozofa. Autori su usredotočeni na dijaloge koje Sokrat vodi sa svojim učenicima, i kako Platon, kao kroničar ovih događaja i njegov učenik opisuje ovaj konflikt koji Sokrat doživljava, kako sa samim sobom, tako i sa svjetonazorom njegovih učenika kojeg uvjetuje mitološko, političko i filozofsko značenje smrti. Sukladno temi, članak je podijeljen na četiri dijela. Prvi upoznaje čitatelja s filozofsko-religijskim značenjem smrti, u drugom razotkrivanja mitološkog poimanja smrti u dijalozima Sokrata s Eutifronom, sucima i Kritonom. U trećem dijelu, autori iznose argumente zašto je dijalog s Fedonom najrelevantniji od četiri dijaloga glede pitanja iskustva blizine smrti. U četvrtom dijelu iznose se razlozi zašto je Guardinijeva interpretacija Sokratove smrti važna za kasniji razvoj njegovog filozofskog opusa.