This collection of thirty-four major essays devoted to the theories, methods, and problems of myth criticism offers a convenient and substantial introduction to one of the most distinctive trends in contemporary literary study. The essays (many of them previously uncollected) are arranged to lead from general considerations to analyses of specific authors. The four Part I selections constitute an informal survey of the views of myth and ritual taken by disciplines other than literature. In Part II the first six essays relate the concept of myth and ritual to general literary theory, while the final three evaluate the uses of myth in critical theory and practice. The twenty-one Part III essays, which apply myth criticism to individual literary works or authors, afford a representative sampling of the mythopoeic patterns discerned in literature from Home to Faulkner. Among the contributors are: David Bidney, Gäza R¢heim, Joseph Campbell, Clyde Kluckhohn, Stanley Hyman, Philip Wheelwright, Richard Chase, Harold Watts, Northrop Frye, Andrew Lytle, Philip Rahv, Francis Fergusson, Marvin Magalaner, John Lydenberg, and Harry Slochower.

First published in 1975, Myth and Literature considers three points at which the concept of myth has entered modern literary imagination: the use of myth – or atleast their understanding of myth -- as a creative opening by modern writers, its exploration by critics as an interpretive device, and the analogy between certain ‘sense-making’ functions of ‘myth’, ‘fiction’ and literature itself. All three of these roles show the gradual movement from a point of precise demand to a diffuse and variable concept which is more pervasive because less distinct. The paradox of myth is shown to lie in its simultaneity of its corruption with the growth of its power over the modern literary mind. This book will be of interest to students of literature and history.

At a time when the place and significance of myth in society has come under renewed scrutiny, Myth, Literature, and the Unconscious contributes to shaping the new interdisciplinary field of myth studies. The editors find in psychoanalysis a natural and necessary ally for investigations in myth and myth-informed literature and the arts. At the same time the collection re-values myths and myth-based cultural products as vital aids to the discipline and practice of psychoanalysis. The volume spans a vast geo-cultural range (including ancient Egypt, India, Japan, nineteenth-century France, and twentieth-century Germany) and investigates cultural products from the Mahabharata to J. W. Goethe's opus and eighteenth-century Japanese fiction, and from William Blake's visionary poetry to contemporary blockbuster television series. It encompasses mythic topics and figures such as Oedipus, Orpheus, the Scapegoat, and the Hero, while mobilising Freudian, Jungian, object relations, and Lacanian psychoanalytic approaches.

"The studies presented in this book derive from a series of sessions held at the annual International Medieval Congress in Leeds, UK...Four sessions, held from 2004 to 2006, bore the title 'Islands of the World and the Seven Seas in Medieval Myth and History', and three in 2007 the title 'Cities, Myths and Literatures'...The stated objective of the island sessions was the location of a 'starting point for a new investigation into the possible impact that myths and other fictitious stories about insular wonderlands had on the reasons why medieval men and women undertook their various missions, searches and explorations that finally led to the discovery of the New World.' Similarly, the cities sessions 'intended to find new connections between ancient myths and medieval constructions of real or imagined cities in literature'."--editors' pref. p.7

This book shows how the legendary past of Greek Thebes influenced the development of the city's landscape from the time of the oral epics to the Roman period. It will appeal to readers with interests in the relationships between Greek myth, ancient topography and archaeology, and the development of urban space.

This book explores the myth of Persephone and Demeter as it informs the development of a long discourse about civilization, the development of children, child psychology, and fantasy literature. The pattern in the myth of girls who descend into underworlds and negotiate a partial return to the earth is a marked feature of girls’ literature, and the cycle also reflects the change of seasons and fertility/death. Tracing the parallel between the myth and girls’ literature enables an understanding of how female development is mourned but deemed necessary for the reproduction of culture. Blackford looks at the function of toys in children’s literature as a representation of the myth’s narcissus, combining this approach with classic interpretations of the myth as expressive of female psychology, mother-daughter object-relations, hieros gamos (fertility coupling) rituals, transition from matriarchal to patriarchal order, and excursions into the creative/artistic unconscious. The story of Persephone’s separation from her mother and abduction into the underworld is explored as an expression of ambivalence about female development in works such as Hoffmann’s Nutcracker and Mouse King, Alcott’s Little Women, Brontë’s Wuthering Heights, Barrie’s Peter and Wendy, Burnett’s The Secret Garden, White’s Charlotte’s Web, Rowling’s Harry Potter and the Chamber of Secrets, Meyer’s Twilight, and Gaiman’s Coraline. With this book, Blackford offers a consideration of how literature for the young squares with broader canons, how classics flexibly and uniquely speak through novels that enjoy broad appeal, and how female traditions are embedded in novels by both men and women.

Wole Soyinka, winner of the Nobel Prize for Literature, here analyses the interconnecting worlds of myth, ritual and literature in Africa.

Carter explores early modern culture's reception of Ovid through the manipulation of Ovidian myth by Shakespeare, Middleton, Heywood, Marlowe and Marston. With a focus on sexual violence, homosexuality, incest and idolatry, Carter analyses how depictions of mythology represent radical ideas concerning gender and sexuality.

This study addresses the question of artistic identity and the myth of the artist as it has been shaped by the artists themselves. While the term artist is to be understood in a broad sense, the focus of this study is the literature of the Romantic tradition. Identity is largely perceived as a construct, and a central hypothesis of this book concerns its aesthetic value and the ways it creates dominant narratives of self-perception that produce powerful myths. The construction of the artist’s identity, be it collective or personal, rests on a series of aesthetic praxes. Caught between the mythic idealisation of poetic genius and its social devaluation, the Romantic artist seeks to create a place for himself, and in doing so, he engages in his own mythmaking. This process is studied in an interdisciplinary perspective, approaching texts and writers from different traditions. The study analyses various typologies of the artist, numerous mythmaking strategies as well as several postural techniques; all of which have sketched major direct or indirect fictional self-portraits in the European tradition.

This book offers an original interdisciplinary analysis of the relations between myth, identity and social reality, involving elements of narratology theory, linguistics, philosophy, anthropology and social theory, harnessed to support an argument firmly located in the area of literary criticism. This analysis yields a fairly extensive reinterpretation of the concept of myth, which is applied to the examination of the relationship between narrative and social reality as represented in texts by contemporary Scottish and Irish women writers. The main theoretical sources are Mikhail Bakhtin’s theories of heteroglossia, Jacques Derrida’s theories of citationality and Judith Butler’s theories of subjectivity. The analysis framework developed in the book uses these theories to create a new way of understanding how literary texts change readers’ worldviews by enticing them to accept alternative possibilities of cultural expression of identity and social order. The texts analysed in this book reconfigure naturalised stories that have become normative and constraining in conveying identities and visions of legitimate social orders. The book’s focus on feminine identities places it alongside feminist analyses of reconstructions of fairy tales, myths or canonical stories that establish what counts as legitimate feminine identity. Studied here for the first time together, the writers whose texts form the interest of this book continue the revisionist work begun by other women writers who engage with the male generated literary, philosophical and humanist tradition. They share a view of narratives as tools for continually negotiating our identities, social worlds and socialisation scenarios. While the high-level theoretical discourse of the first part of the book requires specialised knowledge, the second part of the book, offering close readings of the texts, is both lively and accessible and should engage the interest of the general reader and academic alike. This book is written for all those who are interested in the power words have to hold sway over our inner and outer (social) worlds.