scholarly journals Beyond Iconicity: Ostension in Kamsa Mythic Narrative

1982 ◽  
Vol 19 (2/3) ◽  
pp. 119 ◽  
Author(s):  
John H. McDowell
Keyword(s):  
Mythic Narrative

Hierogamy versus Wedlock: Types of Marriage Plots and Their Relationship to Genres of Prose Fiction

PMLA ◽  
1976 ◽  
Vol 91 (5) ◽  
pp. 900-913 ◽  
Author(s):  
Evelyn J. Hinz
Keyword(s):  
The Novel ◽  
Prose Fiction ◽  
Wuthering Heights ◽  
Mythic Narrative

Because we conventionally think of marriage in social and moral terms, we tend to regard it as a subject practically indigenous to the novel. Hence a work like Wuthering Heights poses problems for the traditional genre critic, since while this work is concerned with marriage its conventions are not those of the novel. The usual tactic is to call Brontë's work a “romance,” but marriage is not compatible with the “romance” as the term is usually defined. It is thus important to recognize that there are two types of marriage plots in prose fiction: one indigenous to the novel, that might be called “wedlock”; another, indigenous to works like Wuthering Heights, that may be called “hierogamy.” Thus, works like Wuthering Heights should not be classified as “displaced novels” but as examples of an autonomous genre which for the present might be designated “mythic narrative.”

scholarly journals The Epistemology of the “Great Invisibles”

Aries ◽  
2020 ◽  
Vol 20 (2) ◽  
pp. 207-239
Author(s):  
Niklas Nenzén
Keyword(s):  
Andre Breton ◽  
Rudolf Steiner ◽  
André Breton ◽  
Western Esotericism ◽  
Theoretical Developments ◽  
Mythic Narrative

Abstract The central collective myth of surrealism, Les grands transparents, was designed by André Breton in 1947 as a means for imagining a desirable society through effecting a vitalizing sense of the unknown and a “decentering of man”. As a contribution to the recent re-examination of surrealism in view of theoretical developments in the field of Western esotericism, this article argues that Breton utilizes his mythic narrative to articulate a transformative knowledge, a surreality, that in certain ways correspond to the concepts of gnosis and clairvoyance in esoteric discourse. To substantiate this, similar mythic narratives about great imperceptible entities in texts of Anthroposophy (Rudolf Steiner) and Rosicrucianism (Lectorium Rosicrucianum) are examined. A comparativist model for describing popular approaches (or mythemes) to ineffable experience is applied. An underlying “gnostic” approach of considering such experiences as incomplete and as being co-created is discerned, highlighting each actor’s endeavours to validate imaginative perception.

Stages of Communal Formation in the Middle and Late Meccan Periods

2019 ◽  
pp. 277-312
Author(s):  
Angelika Neuwirth
Keyword(s):  
Religious Communities ◽  
Major Theme ◽  
New Homiletic ◽  
God's People ◽  
The Way ◽  
Mythic Narrative

This chapter focuses on the process of communal formation in the middle and late Meccan time and the way the Qur’an reflects this process. This involves the construction of a “text world” whereby the stories of “God’s people” are told in relation to their predecessors among the earlier religious communities of the Jews and the Christians, as well as the emergence of anti-pagan polemic as a major theme in the proclamation. It also involves the alteration of existing mythic narrative paradigms and the emergence of new homiletic instruments, namely, the usage of parables and the distinctive Qur’anic simile or “likeness,” the mathal.

scholarly journals The Polish School of Composition in 20th-Century Music – A Recapitulation

2018 ◽  
Vol 15 (1) ◽  
pp. 32-40
Author(s):  
Iwona Lindstedt
Keyword(s):  
20Th Century ◽  
20Th Century Music ◽  
The Past ◽  
Points Of View ◽  
Polish School ◽  
Composition Technique ◽  
Mythic Narrative

Abstract The present paper concerns the concept of ‘the Polish School of Composition’, well established in writings on music composed in the 2nd half of the 20th century, but still resisting attempts to define it clearly. I sum up the ways authors have talked about the Polish School of Composition to date, both from the internal (Polish) and external (foreign) points of view. I also examine the musical differentia specifica (such as aspects of style, composition technique and expression in works associated with this phenomenon) and the extramusical (mostly social and political) contexts which have determined the evolving approaches to the phenomenon in question. I begin with the origin of the term itself and discuss its subsequent interpretations until the present. From this perspective, the Polish School of Composition appears to be a kind of mythic narrative, a proposed way of ordering and understanding the past realities, transcending the categories of truth and falsehood, and working primarily in the sphere of emotions.

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