Myth functions as a sacred, oral invitation marking one’s or a community’s crossing of a ritualized threshold toward presence in inner and outer ecologies.
Oral representation of myth allows communities to express and experience their ancestral lineage in a manner simultaneously mysterious and essential. The mystery of the myth renews the relationships of both teller and listener to the land from which the myth emerged. In this manner, the myth is essential to the emergence of the community upon the land. Still, such a sacred medium, the oral invitation-as-myth remains fragile in the hand of humans. Though nature may not forget its co-creative process with its human reflection—nature as reflected in the human experience—humans may forget. Thus, one finds the development of the written language, in its best light, as a preservation of the oral tradition. As Sean Kane notes in Wisdom of the Mythtellers, the written language contains—and often traps—myth in unforeseen ways. One must remember the communal purpose for myth, in terms of ritual, ceremony, or imparting of wisdom in a community, to understand that myth may slip through the cracks of containers. The human being as container must tend then to the story as the story tends to her or him. The spoken word allows seemingly for near-instant representation of mythic or numinous experience, as it doesn’t rely necessarily upon individuals’ learning of written symbols. This suggests that many members of the community may meet myth more fully as it crosses in the mysterious.
The communal aspect of myth refers to the mutual interaction among nature, mythteller, and community in the recognition, representation, and revising of the story. Sean Kane notes that myths emerge around natural...
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...ing. Myth remains for me the meaning of my existence in relation to the greater and surrounding ecologies. That I might co-create a myth with nature to enliven with purpose my ‘psycho-ecological niche’, as Bill Plotkin suggests, and contribute that essence in a more fundamental and authentic manner as engagement with the Mystery of the greater ecology means a full and embodied life to me. While I continue to engage my inner and outer ecologies for those instances in which personal and ancestral myth bubble up from the land or whisper from the tree leaves, I am reminded how much distance I experience from both Self and nature. In this way, this lack of living with myth, I approach the grief of a surviving with a soul-less life. From this grief, I imagine, I will each day be reminded of my connection to what is alive around and in me—what myth grows in this process.
The structure of stories, on which Campbell’s Hero’s Journey and Booker’s Seven Basic Plots elaborated, is actually only a portion of the field of study it is under. Comparative mythology not only studies the structure of hero stories, but also origins, themes, and characteristics of myths from various religions and cultures. They study the language, psychology, history, and anthropology in order to identify a common theme or beginning point. Even without delving into religion, many common elements have come to light. For instance, many cultures have tales of people with strange supernatural abilities, others speak of similar creatures that reside in water, air or land, while still others extol the importance of talisman and religious symbols. Despite cultures existing on different ends of the earth and having little contact for much of their existence, they share these common
David, Adams Leening., ed. The World of Myths: An Anthology. New York: Oxford UP, 1990.
When I was little, I used to stay up late at night, watching old movies with my father. He worked at night, so on his nights off, he often could not sleep. Our dad-daughter bond was, no doubt, forged by our love of old black and white and even cheesy films. It was on one of those late nights that I first saw a huge snake coiled next to a tree, draped in a glittery sheep’s fur. I am sure that my eyes were big in awe the whole time, for to this day, when I watch or even read mythological stories, I feel the same childhood awe.
Williams Paden discusses the world building character of myths and their capacity to shape time and delineate scared and profane space for the communities that believe and transmit them. In William Paden, “Myth,” in Religious Worlds: The Comparative Study of Religion, he explains that within religious worlds, myths set a foundation that advance to shape a person’s way of life. Subsequently, they shape their belief and conscience. His theory relates to an element an indigenous story which is the creation story precisely the story of the turtle island. For the Ojibway and Anishinaabe people, the creation story was used as a grounding prototype to shape their belief and their outlook on how the world was created. The story shows how myth is being
From before the dawn of civilization as we know it, humanity has formed myths and legends to explain the natural world around them. Whether it is of Zeus and Hera or Izanami-no-Mikoto and Izanagi-no-mikoto, every civilization and culture upon this world has its own mythos. However, the age of myth is waning as it is overshadowed in this modern era by fundamental religion and empirical science. The word myth has come to connote blatant falsehood; however, it was not always so. Our myths have reflected both the society and values of the culture they are from. We have also reflected our inner psyche, conscious and unconscious, unto the fabric of our myths. This reflection allows us to understand ourselves and other cultures better. Throughout the eons of humanity’s existence, the myths explain natural phenomena and the cultural legends of the epic hero have reflected the foundations and the inner turmoil of the human psyche.
Mythology is the study of a compiled group of stories that describe the culture’s practices and past experiences. Mythology is a valuable aspect of every culture. It communicates the culture’s truthful everyday experiences or fabricated details of past events, roles, and traditions such as family, sexuality, art, religion, philosophy, laws and marriage. A culture’s collective group of stories help communicate loyalty, ethical and rational teachings, and social models. Ancient Greece and Egypt are two cultures that we’ve studied in this course so far that I will discuss the Creation Myth associated with each culture.
Myths relate to events, conditions, and deeds of gods or superhuman beings that are outside ordinary human life and yet basics to it” ("Myth," 2012). Mythology is said to have two particular meanings, “the corpus of myths, and the study of the myths, of a particular area: Amerindian mythology, Egyptian mythology, and so on as well as the study of myth itself” ("Mythology," 1993). In contrast, while the term myth can be used in a variety of academic settings, its main purpose is to analyze different cultures and their ways of thinking. Within the academic setting, a myth is known as a fact and over time has been changed through the many different views within a society as an effort to answer the questions of human existence. The word myth in an academic context is used as “ancient narratives that attempt to answer the enduring and fundamental human questions: How did the universe and the world come to be? How did we come to be here? Who are we? What are our proper, necessary, or inescapable roles as we relate to one another and to the world at large? What should our values be? How should we behave? How should we not behave? What are the consequences of behaving and not behaving in such ways” (Leonard, 2004 p.1)? My definition of a myth is a collection of false ideas put together to create
Throughout this paper I will explore the power of storytelling using the course lexicon and I will examine it in the context of two course texts. One of the texts that I will be referring to is by Doxtator, excerpts from Fluffs and Feathers and the second text I will be referring to is by Griffin, excerpts from Woman and Nature. The power of storytelling is a part of the mimetic world and because stories have so much power they can be used to help bring about dominant fantasies. Stories are told over and over again until they are reinforced and in this essay I will argue that the power of storytelling is a form of social control.
Mythology was an integral part of the lives of all ancient peoples. The myths of
Through studies such as comparative mythology, researchers and philosophers have discover hundreds of parallels between the myths that make up every culture, including their creation myths. As most are deeply rooted in religion, comparisons based on geographic area, themes, and similar story lines emerge as religions form and migrate. Campbell recognized these similarities an...
One modernist author, Herman Broch, discusses his approach to mythology in his essay “The Style of the Mythical Age.” His focus is on understanding and using archetypes as a way of analyzing mythology. He says, “Myth is the archetype of every phenomenal cognition of which the human mind is capable,” (102). For Broch, Modernist literature is a return to the mythic; myth is the only way in which the world may be understo...
Rosenburg, Donna. World Mythology: An Anthology of the Great Myths and Epics. Third Edition. Chicago: NTC/Contemporary Publishing Group, Inc., 1999. Text.
According to Joseph Campbell’s The Power of Myth, one archetypal mythic hero appears in diverse cultures in different forms. Two protagonists in Paulo Coelho’s The Alchemist and Thor Heyerdahl’s Kon-Tiki share similar heroic characteristics despite their different backgrounds and cultures.
“A myth is a way of making sense in a senseless world. Myths are narrative patterns that give significance to our existence.” ― Rollo May
Thury, Eva and Margaret K. Devinney. “Theory: Man and His Symbols.” Introduction to Mythology: Contemporary Approaches to Classical and World Myths. New York: Oxford University Press, 2013. 519-537. Print.