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Essays by Thomas Mann, Philips Rieff, Mircea Eliade, and a dozen other contributors on myths in life and literature, many originally published in "Daedalus" by the American Academy of Arts and Sciences.
Essays focusing on some of the ways in which myths have been made, and made to function, in the rich cultural history of India from the dawn of history through to the present day.
This is a comprehensive study of myth in the Hebrew Bible and myth and mythmaking in classical rabbinic literature (Midrash and Talmud) and in the classical work of medieval Jewish mysticism (the book of Zohar). Michael Fishbane provides a close study of the texts and theologies involved and the central role of exegesis in the development and transformation of the subject. Taken up are issues of myth and monotheism, myth and tradition, and myth and language. The presence and vitality of myth in successive cultural phases is treated, emphasizing certain paradigmatic acts of God and features of the divine personality.
This paperback edition of M.I.A. or Mythmaking in America adds major new material about Ross Perot's role, the 1991-1992 Senate investigation, and illegal operations authorized by Ronald Reagan. "An important and compelling book. . . . Franklin raises and answers all of the hardest questions about an enduring piece of political mythology."--The Philadelphia Inquirer "A calm and thoughtful book on a firestorm of a subject. . . . Intelligent, provocative, and courageous."--Kirkus Reviews
This volume explores the dynamics of myths throughout time and space, along with the mythmaking processes in various cultures, literatures and languages, in a wide range of fields, ranging from cultural studies to the history of art. The papers brought together here are motivated by two basic questions: How are myths made in diverse cultures and literatures? And, do all different cultures have different myths to be told in their artistic pursuits? To examine these questions, the book offers a wide array of articles by contributors from various cultures which focus on theory, history, space/ place, philosophy, literature, language, gender, and storytelling. Mythmaking across Boundaries not only brings together classical myths, but also contemporary constructions and reconstructions through different cultural perspectives by transcending boundaries. Using a wide spectrum of perspectives, this volume, instead of emphasising the different modes of the mythmaking process, connects numerous perceptions of mythmaking and investigates diversities among cultures, languages and literatures, viewing them as a unified whole. As the essays reflect on both academic and popular texts, the book will be useful to scholars and students, as well as the general reader.
In 73 A.D., legend has it, 960 Jewish rebels under siege in the ancient desert fortress of Masada committed suicide rather than surrender to a Roman legion. Recorded in only one historical source, the story of Masada was obscure for centuries. In The Masada Myth, Israeli sociologist Nachman Ben-Yehuda tracks the process by which Masada became an ideological symbol for the State of Israel, the dramatic subject of movies and miniseries, a shrine venerated by generations of Zionists and Israeli soldiers, and the most profitable tourist attraction in modern Israel. Ben-Yehuda describes how, after nearly 1800 years, the long, complex, and unsubstantiated narrative of Josephus Flavius was edited and augmented in the twentieth century to form a simple and powerful myth of heroism. He looks at the ways this new mythical narrative of Masada was created, promoted, and maintained by pre-state Jewish underground organizations, the Israeli army, archaeological teams, mass media, youth movements, textbooks, the tourist industry, and the arts. He discusses the various organizations and movements that created “the Masada experience” (usually a ritual trek through the Judean desert followed by a climb to the fortress and a dramatic reading of the Masada story), and how it changed over decades from a Zionist pilgrimage to a tourist destination. Placing the story in a larger historical, sociological, and psychological context, Ben-Yehuda draws upon theories of collective memory and mythmaking to analyze Masada’s crucial role in the nation-building process of modern Israel and the formation of a new Jewish identity. An expert on deviance and social control, Ben-Yehuda looks in particular at how and why a military failure and an enigmatic, troubling case of mass suicide (in conflict with Judaism’s teachings) were reconstructed and fabricated as a heroic tale.
An exploration of mythology, religious belief, and scientific theory on the origins of the universe. A classic study of mythology, this examination investigates stories from all continents and ages—with all their startling similarities and contrasts—to reveal the workings of the human mind and imagination. Philip Freund provides revealing insight into the universality of ideas and faith by examining a wide range of texts such as the Old Testament, the Upanishads, and Gilgamesh in his search for parallels between creation fables. The analysis estimates, for example, that more than 500 flood legends have been told by more than 250 tribes and peoples from around the world. Also featured are clear presentations of the theories of towering figures such as Freud, Jung, Frazer, Campbell, and Malinowski who have proposed variously that myths are primitive history based on literal fact, a means of expressing profound tribal wisdom and psychological and sexual truth, or that they represent a search for kinship with the animal and vegetable world. Fascinating and erudite, this revered book ranks among the select handful of core texts in any mythology collection.
Mythic themes and philosophical probing in film as an art form, as seen in works of Preston Sturges, Jean Cocteau, Stanley Kubrick, and various other filmmakers. Film is the supreme medium for mythmaking. The gods and heroes of mythology are both larger than life and deeply human; they teach us about the world, and they tell us a good story. Similarly, our experience of film is both distant and intimate. Cinematic techniques—panning, tracking, zooming, and the other tools in the filmmaker's toolbox—create a world that is unlike reality and yet realistic at the same time. We are passive spectators, but we also have a personal relationship with the images we are seeing. In Cinematic Mythmaking, Irving Singer explores the hidden and overt use of myth in various films and, in general, the philosophical elements of a film's meaning. Mythological themes, Singer writes, perform a crucial role in cinematic art and even philosophy itself. Singer incisively disentangles the strands of different myths in the films he discusses. He finds in Preston Sturges's The Lady Eve that Barbara Stanwyck's character is not just the biblical Eve but a liberated woman of our times; Eliza Doolittle in the filmed versions of Shaw's Pygmalion is not just a statue brought to life but instead a heroic woman who must survive her own dark night of the soul. The protagonist of William Wyler's The Heiress and Anieszka Holland's Washington Square is both suffering Dido and an awakened Amazon. Singer reads Cocteau's films—including La Belle et la Bête, Orphée, and The Testament of Orpheus—as uniquely mythological cinematic poetry. He compares Kubrickean and Homeric epics and analyzes in depth the self-referential mythmaking of Federico Fellini in many of his movies, including 8½. The aesthetic and probing inventiveness in film, Singer shows us, restores and revives for audiences in the twenty-first century myths of creation, of the questing hero, and of ideals—both secular and religious—that have had enormous significance throughout the human search for love and meaning in life.