Introduction to Classical Myth

What is/are Classical Myth?

Classical Myth - The representation of protagonists of real life with endocrine disorders is not frequent [1, 2] in fine arts, unlike the representation of acromegaly features in protagonists of the Holy Bible [3] or of classical mythology. ^[1] The coexistence and dialogue between Andean mythology and classical mythology is studied in three Peruvian authors of the 20th century: Gamaliel Churata, Edgardo Rivera Martínez and Laura Riesco. ^[2] EnglishThe revisionist treatment of classical mythology carried out by contemporary poets obeys to demystifying strategies of feminine stereotypes transmitted by patriarchal society, aimed at reconstructing a new symbolic order from the woman’s self-consciousness. ^[3] Being born in Provence, passionate of the Mediterranean landscape and highly influenced by classical mythology, Pagnol appears to emphasize the Latin origins of his homeland, the cultural and ethnical continuity between the Antiquity and the 20th century, with a strong apparent wish to revive thousand-year-old traditions. ^[4] Far from merely offering material for musical settings, authoritative tales from classical mythology, ancient history and the Bible were treated as foundations for musical knowledge. ^[5] The myth is investigated in all its forms, variations and transformations from classical mythology (God Ra) to modern social, political to vampire mythology. ^[6] It explores dada as anti-war protest, expressionism as showing social pressures through scenographic distortion, African-American stars emerging through that style, futurism glorifying war and technology, and surrealism drawing on classical myths, personal dreams, and “automatic” writings. ^[7] Eponyms are commonly used in medicine; some of them derive from the name of literary characters or make reference to classical myths. ^[8] This chapter analyses Peruvian-Venezuelan author Domenico Chiappe’s hypermedia novel Minotaur Hotel, focusing on its use of classical myth to encourage us both to understand the networked functioning of the internet and to question the commodification of the online self. ^[9] Douglas Olson's (2012) pedagogical methodology to a specific subject: classical mythology, a course taught at universities and colleges across the country. ^[10] This work, structured around a reflexion on the ignorance and its ethical and vital consequences, shows in a provocatively way a disolution of the ancient reference points through the elaborated technique of the conceptual immersion of the viewer in the narrative and philosophical frame of this classical myth. ^[11] Both invent a system of symbolic imagery modelled on the Surrealist template in Jean Cocteau’s The Infernal Machine, that turns the classical mythic device still prevalent in the early 20th century (i. ^[12] In this context, the prominent foundation and origin myths in Archaic and Classical mythology will be identied, and the effects and consequences of diplomacy pursued by societies through myths in domestic and foreign policies will be discussed. ^[13] EnglishThis article analyzes the presence of aboriginal and classical myths in the poetry of Louise Erdrich, tokens of her double cultural heritage –Native American and German-American– and examples of her perception of identity. ^[14] These include otherworldly female figures from classical mythology and the brothers’ mother. ^[15] Keywords: classical mythology; films about antiquity; Hesiod; Homer; Muses in film; Polyhymnia; Terpsichore. ^[16] Keywords—myth; classical myth; political myth; political ideology; social communications; mass consciousness; archaic forms; archaic structures; Prussian conservative revolution; empire (Reich); political technologies. ^[17]