This study is done from an autobiographical perspective. It focuses on three issues: myths, the resurrection of Jesus from death, and the canon. It approaches the traditional ecclesiastical and confessional teachings from the perspective of a postmodern hermeneutics of suspicion. Being autobiographical, the study is in the first place relevant for its author. In the second place, because he is a researcher, the study has also relevance for the scholarly community. The faith community also asks their questions. Then there is the institutionalized church that is a watchdog for the dogma, and, lastly there is the secular community who is also interested in the debate. The study aims to find answers to the question how the myth of Easter faith developed into kerygma, which became a text with canonical status? It is a search for the relationship between myth, resurrection and canon. On the issue of myth, the study concludes that myth is just as important to postmoderns as it were to their pre-modern ancestors. The Christ myth is a first century Mediterranean version of an ancient inherited subconscious archetypal myth. It represents stories in the language, symbols, and metaphors of the cultures and peoples in which it originated. It is language recycled. On the question about the resurrection, the study concludes that the Christ cult and its narratives developed within a mythological worldview. First, there was the kerygma of a dying and resurrected Christ. Then narratives, as material for preaching in the early congregations emerged around the figure of the historical Jesus. The resurrection as the content of the kerygma is perceived as mythical speech that serves as the foundational myth for the Christ cult. The third issue was about the documents called canon and questions such as how did it emerge, and how did it become authority bearing? To recap the argument: In the beginning, there was the kerygma! The content of this kerygma was the death and resurrection of Christ. During the development stages of the Christ myth, this kerygma was linked to the life and death of the historical Jesus. His story became a mythical narrative that serves as the foundational myth for the Christ cult. It explains its reason for existence and its rituals. As this faith community grew and became more and more institutionalized it produced more and more literature. Orthodoxy in early Christianity decided which of these writings contain the truth and the right teaching. They are the books, which became the index of what is called the Christian Bible today. The author of this study believes in a canon behind the canon. For him, the Jesus figure is the “vehicle” that makes the content of the kerygma accessible. He is a mythological figure, with historical roots that has become the observable face of God to Christians. The New Testament represents kerygmatic narrative with an invitation to its readers and hearers to join in this mythological experience and encounter with God. / Thesis (DD (New Testament))--University of Pretoria, 2006. / New Testament Studies / unrestricted

This thesis attempts to analyze the American Thesis, also the American Creed or the American Ideology (the terms as used by Anatol Lieven in America Right or Wrong: An Anatomy of American Nationalism) as the United States` national identity. In interaction with a set of national myths, the American Thesis constitutes the narrative of US America`s identity, the nation`s 'common sense' and morality. The thesis begins with the definition of the phenomenon of the nation as a political and cultural community, then proceeds to discuss the specific contexts from which the narrative image of the US nation emerged. Next, the thesis studies the American Creed as the cultural instrument of fostering social cohesion and assimilating uncanonical dissent. Finally, the myths of US nationalism are analyzed in the context of their narrative structure and affective dynamics which account for the ontological and emotive power of the American Thesis. Key words: the USA, US nationalism, the American Creed, myth, nation-building, national identity

Диссертация посвящена теоретическому анализы мифотворческих аспектов в развитии экранной культуры (кино, ТВ, видео, компьютерные каналы и др.) как новой парадигмы коммуникации. В диссертационной работе, опираясь на отечественные и зарубежные источники, исследуется экранная культура как концепт информационной эпохи, устанавливается диалектика взаимосвязи в развитии культуры экрана и мифологизации реальности как динамической системы. Автором также доказано, что мифотворческие аспекты в экранной культуре являются важной формой конструирования новой виртуальной реальности, влияющей на общественное и индивидуальное сознание, на процесс социализации личности. В проектной части диссертации представлена научно-методическая разработка спецкурса для вуза «Мифологические аспекты современной экранной культуры» (онлайн-курс). / The dissertation is devoted to theoretical analyzes of myth-creating aspects in the development of on-screen culture (cinema, TV, video, computer channels, etc.) as a new communication paradigm. In the dissertation, relying on domestic and foreign sources, the screen culture is studied as a concept of the information era, the dialectics of the relationship in the development of the screen culture and the mythologization of reality as a dynamic system is established. The author also proved that the myth-creating aspects in the screen culture are an important form of constructing a new virtual reality that affects the social and individual consciousness, the process of personality socialization. In the design part of the dissertation presents the scientific and methodological development of a special course for the university "Mythological aspects of modern screen culture" (online course).

This thesis will look at the adaptation and transformation of classic mythology in modern movies through the lens of Joseph Campbells’s monomyth or “The Hero’s Journey.” The study delves into how contemporary films, like “Gods of Egypt,” “Clash of the Titans,” “Man of Steel,” and “The Wolverine,” utilize this archetypal narrative structure to craft the modern myths that resonate with the modern audiences. This thesis argues that the monomyth remains a fundamental narrative framwork within the contemporary film culture, adeptly adapted and reimagined to fit the modern storytelling sensibilities. By using qualitative methods, the study conducts a detailed analysis of selected film, identifying the stages of the Hero’s Journey and their alignment with classic mythology. The work of Hafçı and Erbay Aslıtürk in “Superheroes: Myth of Modern Age” and James J. Clauss’s “A Course on Classic Mythology in Film” is employed to contextualize the discussion within the broader scope of mythological influence in movies. These sources provide the necessary insight into how mythological heroes, often characterized by supernatural powers, reflect their cultural context, including social, sociological, and emotional states. Not only that but this thesis also considers Campbell’s book “The Hero with a Thousand Faces,” using its outlined 17 steps of the Hero’s Journey as a key analytical tool.  The thesis aims to demonstrate the enduring relevance of mythology in the modern era, by showing how classical mythologies are not merely historical artifacts but continue to evolve and integrate into contemporary popular culture. So, I there for seek to reveal the mythological storytelling, while rooted in ancient traditions, remains a vibrant and influential force in shaping modern movies narrative.

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There is a widespread conception that myths are false and manipulative which is why man must strive to move away from them. Simultaneously they affect our social lives to a high degree, especially political myths. With a starting point of the science of rhetoric needing to complement its understanding of how social meaning is produced, this essay will attempt to develop a theoretical understanding of how political myths functions and produce social meaning. The questions that guide the investigation are how the concept of myth is understood in other scientific contexts, which functions myth fulfills and in which way the concept of myth can supplement the science of rhetoric. The investigation is based on Roland Barthes’, Kenneth Burke’s and Ernst Cassirer’s perspective on political myth. The study concludes that myth often functions to oversimplify diversity to sustain the prevailing political order or to overthrow it. Furthermore, it shows that myth can be understood as a way for man to express emotion and that these myths can be activated by the utterance of a word or sentence. Based on this notion, I argue that one should view myth as a function rather than a definition. I further claim the importance of understanding that mythical expression cannot be met by ‘rational’ or ‘logical’ arguments. I rather propose that rhetorical myth analysis ought to be combined with theories of language’s ethical dimension to be interpreted in an accurate manner.

T.S. Eliot's use of allusion is crucial to the structure and themes of his early poetry. It may be viewed as a compulsion, evident in even the earliest poems, rather than just affectation or elitism. His allusions often involve the reversal or re-ordering of constructions of gender in other literature, especially in other literary treatments of myth. Eliot's "classical" anti-Romanticism may be understood according to this dual concern with myth and gender, in that his poetry simultaneously derives from and attacks a perceived "feminised" Romantic tradition, one which focuses on female characters and which fetishises, particularly, a sympathetic portrayal of femmes fatales of classical myth, such as Circe, Lamia and Venus. Eliot is thus subverting, or "correcting", what are themselves often subversive genderings of myth. Another aspect of myth, that of the quest, is set in opposition to the predatory female by Eliot. A number of early poems place flâneur figures in the role of questers in a context of constraining feminine influence. These questers attempt, via mysticism, to escape from or blur gender and sexuality, or may be ensnared by such things in fertility rituals. A sadomasochistic motivation towards martyrdom is present in poems between 1911 and 1920. With its dual characteristics of disguise and exposure, Eliotic allusion to ritual and myth is itself a ritual (of literary re-enactment) based on a myth (of literature), namely Eliot's "Tradition". Allusive reconfiguration being a two-way process, Eliot's poetry is often implicitly subverted or "corrected" by its own allusions. Thus we are offered more complex representations of gender than may first appear; female characters may be viewed as sympathetic as well as predatory, male ones as being constructed often from representations of femininity rather than masculinity. The poems themselves demonstrate intense awareness of this fluctuation of gender, which appears in earlier poems as a threat, but in The Waste Land as the potential for a rapprochement between genders. This poem comprises multiple layers of re-enactments and reconfigurations of gender-in-myth, centring upon Shakespeare's Venus and Adonis. The Waste Land's treatment of myth should not be seen as merely reflecting a passing interest in anthropology, but as the culmination of concerns with myth and gender dating back to the earliest poetry. The complex interrelation of the two aspects leaves it unclear whether Eliot's allusive compulsion derives principally from a concern with mythologies of literature or from a concern with mythologies of gender.

Thesis (DLitt (Ancient Studies))--University of Stellenbosch, 1998. / This is an iconographic study of the motifs of the sea, lion, wings, horns and the enthroned in the iconography of Palestine/Israel with reference to the vision of Dan 7:2-14

In 2014, in the wake of #BlackLivesMatter, a call to action was made for Asian Americans to actively engage with and unlearn the age old model minority myth and join the movement for racial justice. This thesis seeks to understand and complicate what it means to subvert this ideology in the way of #modelminoritymutiny. It is divided into three primary sections: first, a theoretical framework and of the model minority myth throughout time as a tool for positioning Asian Americans; second, an application of this framework into the recent Peter Liang and Akai Gurley case this past year; and third, a course syllabus for an Asian American studies course here at the Claremont Colleges. This trajectory showcases what it means for Asian Americans to actively resist ascribed narratives, and to propose methods for learning and unlearning.

This dissertation concerns the interpretation of theophanic imagery in the Prophets. In essence, my argument is that the imagery which attends and describes theophany in the poetic books of the Hebrew Bible is mythic and not metaphorical-that it should be interpreted in relation to the Chaoskampf myth, as Yahweh defeats chaos and restores order, rather than being understood as a metaphorical comparison with natural phenomena. In arguing this way, however, I am taking a new approach to theophanic imagery, for such imagery has almost uniformly been understood in Old Testament scholarship as metaphor. Before examining in detail this traditional and more widespread approach to theophanic imagery and the alternative to it which I wish to suggest, however, it will be helpful to state at the outset two foundations upon which my argument rests and the specific texts which will be enlisted to support it.