Myth is a folklore genre consisting of narratives that play a fundamental role in society, such as foundational tales. Myths often consist of sacred narratives about gods. The term mythology refers to bodies of myth and the study thereof alike. The study of myth began in ancient history. Rival classes of the Greek myths by Euhemerus, Plato and Sallustius were developed by the Neoplatonists and later revived by Renaissance mythographers. Today, the study of myth continues in a wide variety of academic fields, including folklore studies, philology, and psychology. The academic comparisons of bodies of myth is known as comparative mythology.


The Greek μυθολογία [mythología] ("story," "lore," "legends," "the telling of stories") combines the word μῦθος [mythos] ("story") and the suffix -λογία [-logia] ("study").[3] Plato uses [μυθολογία] as a general term for "fiction" or "story-telling" of any kind. The Late Latin mythologia, which occurs in the title of Latin author Fulgentius' fifth-century Mythologiæ, denoted the explication of Greek and Roman stories about their gods, which we now call classical mythology. Although Fulgentius' conflation with the contemporary African Saint Fulgentius is now questioned,[4] the Mythologiæ explicitly treated its subject matter as allegories requiring interpretation and not as true events.[5]

Borrowed from the Middle French mythologie, the English word "mythology" first appeared in the fifteenth century.[7] [8][9] From Lydgate until the seventeenth or eighteenth-century, mythology was used to mean a moral, fable, allegory or a parable, or collection of traditional stories,[9][11] understood to be false. It came eventually to be applied to similar bodies of traditional stories among other polytheistic cultures around the world.[9]

The word mythology entered the English language before the word "myth"; Johnson's Dictionary, for example, has an entry for mythology, but not for myth. [14] Indeed, the Greek loanword mythos[16] (pl. mythoi) and Latinate mythus[18] (pl. mythi) both appeared in English before the first example of myth in 1830.[21]

Defining myth

Definitions of myth to some extent vary by scholar. According to Finnish folklorist Lauri Honko:

Myth, a story of the gods, a religious account of the beginning of the world, the creation, fundamental events, the exemplary deeds of the gods as a result of which the world, nature and culture were created together with all parts thereof and given their order, which still obtains. A myth expresses and confirms society's religious values and norms, it provides a pattern of behavior to be imitated, testifies to the efficacy of ritual with its practical ends and establishes the sanctity of cult.[22]

While myth and other folklore genres may overlap, myth differs from genres such as legend and folktale in that neither are considered to be sacred narratives.[23]

Although the term may be used to mean a 'false story' in colloquial speech, myth is commonly used by folklorists and academics in other relevant fields, such as anthropology. Use of the term by scholars has no implication whether the narrative may be understood as true or otherwise.[24]

In present use, mythology usually refers to the collected myths of a group of people, but may also mean the study of such myths.[25] For example, Greek mythology, Roman mythology and Hittite mythology all describe the body of myths retold among those cultures. Folklorist Alan Dundes defines myth as a sacred narrative that explains how the world and humanity evolved into their present form. Dundes classified a sacred narrative as "a story that serves to define the fundamental worldview of a culture by explaining aspects of the natural world and delineating the psychological and social practices and ideals of a society".[26] Anthropologist Bruce Lincoln defines myth as "ideology in narrative form."[27] Scholars in other fields use the term myth in varied ways.[28][29][30] In a broad sense, the word can refer to any traditional story,[31][32][33] popular misconception or imaginary entity.[34] Due to this pejorative sense, some scholars opted for the term mythos.[26] Its use was similarly pejorative and now more commonly refers to its Aristotelian sense as a "plot point" or to a collective mythology,[35] as in the world building of H.P. Lovecraft.

The term is often distinguished from didactic literature such as fables, but its relationship with other traditional stories, such as legends and folktales, is more nebulous.[36] Main characters in myths are usually gods, demigods or supernatural humans,[37][38][39] while legends generally feature humans as their main characters.[37] However, many exceptions or combinations exist, as in the Iliad, Odyssey and Aeneid.[40][41] Myths are often endorsed by rulers and priests and are closely linked to religion or spirituality.[37] In fact, many societies group their myths, legends and history together, considering myths to be true accounts of their remote past.[37][38][42][43] Creation myths particularly, take place in a primordial age when the world had not achieved its later form.[37][44][45] Other myths explain how a society's customs, institutions and taboos were established and sanctified.[37][45] A separate space is created for folktales,[46][47][48] which are not considered true by anyone.[37] As stories spread to other cultures or as faiths change, myths can come to be considered folktales.[49][50] Its divine characters are recast as either as humans or demihumans such as giants, elves and faeries.[38]

Interpreting myths


A number of commentators have argued that myths function to form and shape society and social behaviour. Eliade argued that one of the foremost functions of myth is to establish models for behavior[51][52] and that myths may provide a religious experience. By telling or reenacting myths, members of traditional societies detach themselves from the present, returning to the mythical age, thereby coming closer to the divine.[42][52][53]

Honko asserted that, in some cases, a society reenacts a myth in an attempt to reproduce the conditions of the mythical age. For example, it might reenact the healing performed by a god at the beginning of time in order to heal someone in the present.[54] Similarly, Barthes argued that modern culture explores religious experience. Since it is not the job of science to define human morality, a religious experience is an attempt to connect with a perceived moral past, which is in contrast with the technological present.[55]

Pattanaik defines mythology as "a subjective truth of people that is communicated through stories, symbols and rituals". He adds, "unlike fantasy that is nobody’s truth, and history that seeks to be everybody’s truth, mythology is somebody’s truth."[56]


One theory claims that myths are distorted accounts of historical events.[57][58] According to this theory, storytellers repeatedly elaborate upon historical accounts until the figures in those accounts gain the status of gods.[57][58] For example, the myth of the wind-god Aeolus may have evolved from a historical account of a king who taught his people to use sails and interpret the winds.[57] Herodotus (fifth-century BC) and Prodicus made claims of this kind.[58] This theory is named euhemerism after mythologist Euhemerus (c. 320 BC), who suggested that Greek gods developed from legends about human beings.[58][59]


Some theories propose that myths began as allegories for natural phenomena: Apollo represents the sun, Poseidon represents water, and so on.[58] According to another theory, myths began as allegories for philosophical or spiritual concepts: Athena represents wise judgment, Aphrodite desire, and so on.[58] Müller supported an allegorical theory of myth. He believed myths began as allegorical descriptions of nature and gradually came to be interpreted literally. For example, a poetic description of the sea as "raging" was eventually taken literally and the sea was then thought of as a raging god.[60]


Some thinkers claimed that myths result from the personification of objects and forces. According to these thinkers, the ancients worshiped natural phenomena, such as fire and air, gradually deifying them.[61] For example, according to this theory, ancients tended to view things as gods, not as mere objects.[62] Thus, they described natural events as acts of personal gods, giving rise to myths.[63]

Myth-ritual theory

According to the myth-ritual theory, myth is tied to ritual.[64] In its most extreme form, this theory claims myths arose to explain rituals.[65] This claim was first put forward by Smith,[66] who claimed that people begin performing rituals for reasons not related to myth. Forgetting the original reason for a ritual, they account for it by inventing a myth and claiming the ritual commemorates the events described in that myth.[67] Frazer claimed that humans started out with a belief in magical rituals; later, they began to lose faith in magic and invented myths about gods, reinterpreting their rituals as religious rituals intended to appease the gods.[68]

History of the academic discipline

Historically, the important approaches to the study of mythology have been those of Vico, Schelling, Schiller, Jung, Freud, Lévy-Bruhl, Lévi-Strauss, Frye, the Soviet school, and the Myth and Ritual School.[69]

Ancient Greece

According to Albert A. Anderson, a professor of philosophy, the term μῦθος (mythos) appears in the works of Homer and other poets of Homer's era.[70] In these works, the term had several meanings: conversation, narrative, speech, story, tale, and word.

Like the related term λόγος (logos), mythos expresses whatever can be delivered in the form of words.[70] Anderson contrasts the two terms with ἔργον (ergon), a Greek term for action, deed, and work.[70] The term mythos lacks an explicit distinction between true or false narratives.[70]

In the context of the theatre of ancient Greece, the term mythos referred to the myth, the narrative, the plot, and the story of a play.[71] According to David Wiles, the Greek term mythos in this era covered an entire spectrum of different meanings, from undeniable falsehoods to stories with religious and symbolic significance.[71]

According to philosopher Aristotle (384–322 BC), the spirit of a theatrical play was its mythos.[71] The term mythos was also used for the source material of Greek tragedy. The tragedians of the era could draw inspiration from Greek mythology, a body of "traditional storylines" which concerned gods and heroes.[71] David Wiles observes that modern conceptions about Greek tragedy can be misleading. It is commonly thought that the ancient audience members were already familiar with the mythos behind a play, and could predict the outcome of the play. However, the Greek dramatists were not expected to faithfully reproduce traditional myths when adapting them for the stage. They were instead recreating the myths and producing new versions.[71] Storytellers like Euripides (c. 480–406 BC) relied on suspense to excite their audiences. In one of his works, Merope attempts to kill her son's murderer with an axe, unaware that the man in question is actually her son. According to an ancient description of audience reactions to this work, the audience members were genuinely unsure of whether she would commit filicide or she will be stopped in time. They rose to their feet in terror and caused an uproar.[71]

David Wiles points that the traditional mythos of Ancient Greece, was primarily a part of its oral tradition. The Greeks of this era were a literate culture, but produced no sacred texts. There were no definitive or authoritative versions of myths recorded in texts and preserved forever in an unchanging form.[72] Instead multiple variants of myths were in circulation. These variants were adapted into songs, dances, poetry, and visual art. Performers of myths could freely reshape their source material for a new work, adapting it to the needs of a new audience or in response to a new situation.[72]

Children in Ancient Greece were familiar with traditional myths from an early age. Based on the writings of philosopher Plato (c. 428–347 BC), mothers and nursemaids narrated myths and stories to the children in their charge.[72] These women were tasked with rearing children. Apparently they had to find ways to stimulate the children's language skills and imaginations. They lacked access to children's literature or television, so the solution was to turn to storytelling. David Wiles describes them as a repository of mythological lore.[72]

Bruce Lincoln has called attention to the apparent meaning of the terms mythos and logos in the works of Hesiod. In Theogony, Hesiod attributes to the Muses the ability to both proclaim truths and narrate plausible falsehoods (falsehoods which seem like real things).[73] The verb used for narrating the falsehoods in the text is legein, which is etymologically associated with logos. There are two variants in the manuscript tradition for the verb used to proclaim truths. One variant uses gerusasthai, the other mythesasthai. The latter is a form of the verb mytheomai (to speak, to tell), which is etymologically associated with mythos.[73] In the Works and Days, Hesiod describes his dispute with his brother Perses. He also announces to his readers his intention to tell true things to his brother. The verb he uses for telling the truth is mythesaimen, another form of mytheomai.[73]

Lincoln draws the conclusion that Hesiod associated the "speech of mythos" (as Lincoln calls it) with telling the truth. While he associated the "speech of logos" with telling lies, and hiding one's true thoughts (dissimulation).[73] This conclusion is strengthened by the use of the plural term logoi (the plural form of logos) elsewhere in Hesiod's works. Three times the term is associated with the term "seductive" and three times with the term "falsehoods".[73] In his genealogy of the gods, Hesiod lists logoi among the children of Eris, the goddess personifying strife. Eris' children are ominous figures, which personify various physical and verbal forms of conflict.[73]

The critical interpretation of myth began with the Presocratics.[74] Euhemerus was one of the most important pre-modern mythologists. He interpreted myths as accounts of actual historical events - distorted over many retellings. Sallustius[75] divided myths into five categories – theological, physical (or concerning natural laws), animistic (or concerning soul), material, and mixed. Mixed concerns myths that show the interaction between two or more of the previous categories and are particularly used in initiations.

Plato famously condemned poetic myth when discussing education in the Republic. His critique was primarily on the grounds that the uneducated might take the stories of gods and heroes literally. Nevertheless, he constantly referred to myths throughout his writings. As Platonism developed in the phases commonly called Middle Platonism and neoplatonism, writers such as Plutarch, Porphyry, Proclus, Olympiodorus, and Damascius wrote explicitly about the symbolic interpretation of traditional and Orphic myths.[76]

Interest in polytheistic mythology revived during the Renaissance, with early works on mythography appearing in the sixteenth-century, such as the Theologia Mythologica (1532). While myths are not the same as fables, legends, folktales, fairy tales, anecdotes, or fiction, the concepts may overlap. Notably, during the nineteenth century period of Romanticism, folktales and fairy tales were perceived as eroded fragments of earlier mythology (famously by the Brothers Grimm and Elias Lönnrot).

Mythological themes were consciously employed in literature, beginning with Homer. The resulting work may expressly refer to a mythological background without itself becoming part of a body of myths (Cupid and Psyche). Medieval romance in particular plays with this process of turning myth into literature. Euhemerism, as stated earlier, refers to the rationalization of myths, putting themes formerly imbued with mythological qualities into pragmatic contexts. An example of this would be following a cultural or religious paradigm shift (notably the re-interpretation of pagan mythology following Christianization).

Conversely, historical and literary material may acquire mythological qualities over time. For example, the Matter of Britain (the legendary history of Great Britain, especially those focused on King Arthur and the knights of the Round Table)[77] and the Matter of France, based on historical events of the fifth and eighth-centuries respectively, were first made into epic poetry and became partly mythological over the following centuries. "Conscious generation" of mythology was termed mythopoeia by Tolkien and was notoriously also suggested, separately, by Nazi ideologist Alfred Rosenberg.


The first scholarly theories of myth appeared during the second half of the nineteenth-century.[74] In general, these nineteenth-century theories framed myth as a failed or obsolete mode of thought, often by interpreting myth as the primitive counterpart of modern science.[78]

For example, Tylor interpreted myth as an attempt at a literal explanation for natural phenomena. Unable to conceive impersonal natural laws, early humans tried to explain natural phenomena by attributing souls to inanimate objects, giving rise to animism.[79] According to Tylor, human thought evolved through stages, starting with mythological ideas and gradually progressing to scientific ideas. Not all scholars, not even all nineteenth-century scholars, accepted this view. Lévy-Bruhl claimed "the primitive mentality is a condition of the human mind, and not a stage in its historical development."[80]

Müller called myth a "disease of language". He speculated that myths arose due to the lack of abstract nouns and neuter gender in ancient languages. Anthropomorphic figures of speech, necessary in such languages, were eventually taken literally, leading to the idea that natural phenomena were in actuality conscious beings or gods.[60]

Frazer saw myths as a misinterpretation of magical rituals, which were themselves based on a mistaken idea of natural law.[81] According to Frazer, humans begin with an unfounded belief in impersonal magical laws. When they realize applications of these laws do not work, they give up their belief in natural law in favor of a belief in personal gods controlling nature, thus giving rise to religious myths. Meanwhile, humans continue practicing formerly magical rituals through force of habit, reinterpreting them as reenactments of mythical events. Finally humans come to realize nature follows natural laws, and they discover their true nature through science. Here again, science makes myth obsolete as humans progress "from magic through religion to science."[68]

Segal asserted that by pitting mythical thought against modern scientific thought, such theories imply modern humans must abandon myth.[82]


Many twentieth-century theories rejected the nineteenth-century theories' opposition of myth and science. In general, "twentieth-century theories have tended to see myth as almost anything but an outdated counterpart to science […]. Consequently, modern individuals are not obliged to abandon myth for science."[82]

Jung tried to understand the psychology behind world myths. Jung asserted that all humans share certain innate unconscious psychological forces, which he called archetypes. He believed similarities between the myths of different cultures reveals the existence of these universal archetypes.[83]

Lévi-Strauss believed myths reflect patterns in the mind and interpreted those patterns more as fixed mental structures, specifically pairs of opposites (good/evil, compassionate/callous), rather than unconscious feelings or urges.[84]

In his appendix to Myths, Dreams and Mysteries, and in The Myth of the Eternal Return, Eliade attributed modern humans’ anxieties to their rejection of myths and the sense of the sacred.

In the 1950s, Barthes published a series of essays examining modern myths and the process of their creation in his book Mythologies[85]

Following the Structuralist Era (roughly the 1960s to 1980s), the predominant anthropological and sociological approaches to myth increasingly treated myth as a form of narrative that can be studied, interpreted and analyzed like ideology, history and culture. In other words, myth is a form of understanding and telling stories that is connected to power, political structures, and political and economic interests. These approaches contrast with approaches such as those of Campbell and Eliade that hold that myth has some type of essential connection to ultimate sacred meanings that transcend cultural specifics. In particular, myth was studied in relation to history from diverse social sciences. Most of these studies share the assumption that history and myth are not distinct in the sense that history is factual, real, accurate, and truth, while myth is the opposite.

Christian theologian Conrad Hyers wrote that

...myth today has come to have negative connotations which are the complete opposite of its meaning in a religious context... In a religious context, however, myths are storied vehicles of supreme truth, the most basic and important truths of all. By them people regulate and interpret their lives and find worth and purpose in their existence. Myths put one in touch with sacred realities, the fundamental sources of being, power, and truth. They are seen not only as being the opposite of error but also as being clearly distinguishable from stories told for entertainment and from the workaday, domestic, practical language of a people. They provide answers to the mysteries of being and becoming, mysteries which, as mysteries, are hidden, yet mysteries which are revealed through story and ritual. Myths deal not only with truth but with ultimate truth.[86]

Comparative mythology

Comparative mythology is the systematic comparison of myths from different cultures. It seeks to discover underlying themes that are common to the myths of multiple cultures. In some cases, comparative mythologists use the similarities between separate mythologies to argue that those mythologies have a common source. This source may inspire myths or provide a common "protomythology" that diverged into the mythologies of each culture.[87]

Nineteenth-century interpretations of myth were often comparative, seeking a common origin for all myths.[88] Later scholars tend to avoid universal statements about mythology. One exception to this modern trend is Campbell's The Hero with a Thousand Faces (1949), which claims that all hero myths follow the same underlying pattern. This theory of a monomyth later fell out of favor.[89]

Modern mythology

In modern society, myth is often regarded as a collection of stories. Scholars in the field of cultural studies research how myth has worked itself into modern discourses. Mythological discourse can reach greater audiences than ever before via digital media. Various mythic elements appear in television, cinema and video games.[90]

Although myth was traditionally transmitted through the oral tradition on a small scale, the film industry has enabled filmmakers to transmit myths to large audiences via film.[91] In Jungian psychology myths are the expression of a culture or society’s goals, fears, ambitions and dreams.[92]

The basis of modern visual storytelling is rooted in the mythological tradition. Many contemporary films rely on ancient myths to construct narratives. Disney Corporation is well-known among cultural study scholars for "reinventing" traditional childhood myths.[93] While many films are not as obvious as Disney fairy tales, the plots of many films are based on the rough structure of myths. Mythological archetypes, such as the cautionary tale regarding the abuse of technology, battles between gods and creation stories, are often the subject of major film productions. These films are often created under the guise of cyberpunk action films, fantasy, dramas and apocalyptic tales.[94]

21st century films such as Clash of the Titans, Immortals and Thor continue the trend of mining traditional mythology to frame modern plots. Authors use mythology as a basis for their books, such as Rick Riordan, whose Percy Jackson and the Olympians series is situated in a modern-day world where the Greek deities are manifest.[95]

The word myth can also be used of a collectively held belief that has no basis in fact.[96] This usage, which is often pejorative,[97] arose from labeling the religious myths and beliefs of other cultures as incorrect, but it has spread to cover non-religious beliefs as well.[98]

See also


Mythological archetypes

Myth and religion


  • Mythopoeia, artificially constructed mythology, mainly for the purpose of storytelling


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  2. For more information on this panel, please see Zeri catalogue number 64, pp. 100-101
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  4. Hays, Gregory. "The date and identity of the mythographer Fulgentius" in Journal of Medieval Latin, Vol. 13, pp. 163 ff. 2003.
  5. Fulgentius, Fabius Planciades (1971). Fulgentius the Mythographer. Ohio State University Press. ISBN 978-0-8142-0162-6.
  6. Lydgate, John. Troyyes Book, Vol. II, ll. 2487. (in Middle English) Reprinted in Henry Bergen's Lydgate's Troy Book, Vol. I, p. 216. Kegan Paul, Trench, Trübner, & Co. (London), 1906. Accessed 20 Aug 2014.
  7. "...I [ Paris ] was ravisched in-to paradys.
    "And Þus Þis god [sc. Mercury], diuers of liknes,
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  10. Browne, Thomas. Pseudodoxia Epidemica: or, Enquiries into Many Received Tenets and Commonly Presumed Truths, Vol. I, Ch. VIII. Edward Dod (London), 1646. Reprinted 1672.
  11. All which [sc. John Mandevil's support of Ctesias's claims] may still be received in some acceptions of morality, and to a pregnant invention, may afford commendable mythologie; but in a natural and proper exposition, it containeth impossibilities, and things inconsistent with truth.[10]
  12. Johnson, Samuel. "Mythology" in A Dictionary of the English Language: in which the Words are Deduced from their Originals, and Illustrated in their Different Significations by Examples from the Best Writers to which are Prefixed a History of the Language and an English Grammar, p. 1345. W. Strahan (London), 1755.
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  16. "That Mythology came in upon this Alteration of their [Egyptians' Theology, is obviouſly evident: for the mingling the Hiſtory of theſe Men when Mortals, with what came to be aſcribed to them when Gods, would naturally occaſion it. And of this Sort we generally find the Mythoi told of them..."[15]
  17. Coleridge, Samuel Taylor. "On the Prometheus of Æschylus: An Essay, preparatory to a series of disquisitions respecting the Egyptian, in connection with the sacerdotal, theology, and in contrast with the mysteries of ancient Greece." Royal Society of Literature (London), 18 May 1825. Reprinted in Coleridge, Henry Nelson (1836). The Literary Remains of Samuel Taylor Coleridge: Shakespeare, with introductory matter on poetry, the drama, and the stage. Notes on Ben Jonson; Beaumont and Fletcher; On the Prometheus of Æschylus [and others. W. Pickering. pp. 335–.
  18. "Long before the entire separation of metaphysics from poetry, that is, while yet poesy, in all its several species of verse, music, statuary, &c. continued mythic;—while yet poetry remained the union of the sensuous and the philosophic mind;—the efficient presence of the latter in the synthesis of the two, had manifested itself in the sublime mythus περὶ γενέσεως τοῦ νοῦ ἐν ἀνθρωποῖς concerning the genesis, or birth of the νοῦς or reason in man."[17]
  19. Abraham of Hekel (1651). "Historia Arabum(History of the Arabs)". Chronicon orientale, nunc primum Latinitate donatum ab Abrahamo Ecchellensi Syro Maronita e Libano, linguarum Syriacae, ... cui accessit eiusdem Supplementum historiae orientalis (The Oriental Chronicles. e Typographia regia. pp. 175–. (in Latin) Translated in paraphrase in Blackwell, Thomas (1748). "Letter Seventeenth". Letters Concerning Mythology. printed in the year. pp. 269–.
  20. Anonymous review of Upham, Edward (1829). The History and Doctrine of Budhism: Popularly Illustrated: with Notices of the Kappooism, Or Demon Worship, and of the Bali, Or Planetary Incantations, of Ceylon. R. Ackermann. In the Westminster Review, No. XXIII, Art. III, p. 44. Rob't Heward (London), 1829. Accessed 20 Aug 2014.
  21. "According to the rabbi Moses Ben Maimon, Enos, discoursing on the splendor of the heavenly bodies, insisted that, since God had thus exalted them above the other parts of creation, it was but reasonable that we should praise, extol, and honour them. The consequence of this exhortation, says the rabbi, was the building of temples to the stars, and the establishment of idolatry throughout the world. By the Arabian divines however, the imputation is laid upon the patriarch Abraham; who, they say, on coming out from the dark cave in which he had been brought up, was so astonished at the sight of the stars, that he worshipped Hesperus, the Moon, and the Sun successively as they rose.[19] These two stories are good illustrations of the origin of myths, by means of which, even the most natural sentiment is traced to its cause in the circumstances of fabulous history.[20]
  22. Honko, Lauri. 1984. "The Problem of Defining Myth" in Alan Dundes (Editor). Sacred Narrative: Reading in the Theory of Myth, p. 49. University of California Press.
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  65. Graf 1996, p. 40.
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  73. 1 2 3 4 5 6 Lincoln (1999), p. 3-5
  74. 1 2 Segal 2015, p. 1.
  75. On the Gods and the World, ch. 5, See Collected Writings on the Gods and the World, The Prometheus Trust, Frome, 1995
  76. Perhaps the most extended passage of philosophic interpretation of myth is to be found in the fifth and sixth essays of Proclus’ Commentary on the Republic (to be found in The Works of Plato I, trans. Thomas Taylor, The Prometheus Trust, Frome, 1996); Porphyry’s analysis of the Homeric Cave of the Nymphs is another important work in this area (Select Works of Porphyry, Thomas Taylor The Prometheus Trust, Frome, 1994). See the external links below for a full English translation.
  77. "romance | literature and performance". Encyclopedia Britannica. Retrieved 2017-11-06.
  78. Segal 2015, pp. 3–4.
  79. Segal 2015, p. 4.
  80. Mâche (1992). Music, Myth and Nature, or The Dolphins of Arion. p. 8.
  81. Segal 2015, pp. 67–68.
  82. 1 2 Segal 2015, p. 3.
  83. Boeree
  84. Segal 2015, p. 113.
  85. Barthes, Roland (1972). "Mythologies". Hill and Wang.
  86. Hyers 1984, p. 107.
  87. Littleton 1973, p. 32.
  88. Leonard 2007.
  89. Northup 2006, p. 8.
  90. Ostenson, Jonathan (2013). "Exploring the Boundaries of Narrative: Video Games in the English Classroom" (PDF).
  91. Singer, Irving (2008). Cinematic Mythmaking: Philosophy in Film. MIT Press. pp. 3–6.
  92. Indick, William (November 18, 2004). "Classical Heroes in Modern Movies: Mythological Patterns of the Superhero". Journal of Media Psychology.
  93. Koven, Michael (2003). Folklore Studies and Popular Film and Television: A Necessary Critical Survey. University of Illinois Press. pp. 176–195.
  94. Corner 1999, pp. 47–59.
  95. Mead, Rebecca (2014-10-22). "The Percy Jackson Problem". The New Yorker. ISSN 0028-792X. Retrieved 2017-11-06.
  96. "myth, n., §2" OED Online, Oxford University Press, June 2018, Accessed 23 August 2018.
  97. Howells, Richard (1999). The Myth of the Titanic. Macmillan.
  98. Eliade, Myths, Dreams and Mysteries, 1967, pp. 23, 162.


Further reading

Journals about mythology

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