"The themes in this book relate to the background of many present day moral concerns including abortion, women's liberation and war. It reveals the flow of ideas from ancient Egypt and Mesopotamia and discusses the alternative approaches to life found in societies from the Nile to the Euphrates. Biblical myths and modern myths are examined with a final section devoted to future myths. Problems of change and human identity are considered. The myths are organized according to type and grouped under country of origin. This book raises questions and helps to evaluate the way in which the ancient past affects present life styles."-Publisher.

In Quest of the Hero makes available for a new generation of readers two key works on hero myths: Otto Rank's Myth of the Birth of the Hero and the central section of Lord Raglan's The Hero. Amplifying these is Alan Dundes's fascinating contemporary inquiry, "The Hero Pattern and the Life of Jesus." Examined here are the patterns found in the lore surrounding historical or legendary figures like Gilgamesh, Moses, David, Oedipus, Odysseus, Perseus, Heracles, Aeneas, Romulus, Siegfried, Lohengrin, Arthur, and Buddha. Rank's monograph remains the classic application of Freudian theory to hero myths. In The Hero the noted English ethnologist Raglan singles out the myth-ritualist pattern in James Frazer's many-sided Golden Bough and applies that pattern to hero myths. Dundes, the eminent folklorist at the University of California at Berkeley, applies the theories of Rank, Raglan, and others to the case of Jesus. In his introduction to this selection from Rank, Raglan, and Dundes, Robert Segal, author of the major study of Joseph Campbell, charts the history of theorizing about hero myths and compares the approaches of Rank, Raglan, Dundes, and Campbell.

With The Modern Myths, brilliant science communicator Philip Ball spins a new yarn. From novels and comic books to B-movies, it is an epic exploration of literature, new media and technology, the nature of storytelling, and the making and meaning of our most important tales. Myths are usually seen as stories from the depths of time—fun and fantastical, but no longer believed by anyone. Yet, as Philip Ball shows, we are still writing them—and still living them—today. From Robinson Crusoe and Frankenstein to Batman, many stories written in the past few centuries are commonly, perhaps glibly, called “modern myths.” But Ball argues that we should take that idea seriously. Our stories of Dracula, Dr. Jekyll and Mr. Hyde, and Sherlock Holmes are doing the kind of cultural work that the ancient myths once did. Through the medium of narratives that all of us know in their basic outline and which have no clear moral or resolution, these modern myths explore some of our deepest fears, dreams, and anxieties. We keep returning to these tales, reinventing them endlessly for new uses. But what are they really about, and why do we need them? What myths are still taking shape today? And what makes a story become a modern myth? In The Modern Myths, Ball takes us on a wide-ranging tour of our collective imagination, asking what some of its most popular stories reveal about the nature of being human in the modern age.

Traces the story of how ancient cultures envisioned artificial life, automata, self-moving devices and human enhancements, sharing insights into how the mythologies of the past related to and shaped ancient machine innovations.

The Greek myths are amongst the best stories ever told, passed down through millennia and inspiring writers and artists as varied as Shakespeare, Michelangelo, James Joyce and Walt Disney. They are embedded deeply in the traditions, tales and cultural DNA of the West. You'll fall in love with Zeus, marvel at the birth of Athena, wince at Cronus and Gaia's revenge on Ouranos, weep with King Midas and hunt with the beautiful and ferocious Artemis. Spellbinding, informative and moving, Stephen Fry's Mythos perfectly captures these stories for the modern age - in all their rich and deeply human relevance.

This book builds on the vast clinical experience of Joseph L. Henderson, who became interested in initiatory symbolism when he began his analysis with Jung in 1929. Henderson studied this symbolism in patients' dreams, fantasies, and active imagination, and demonstrated the archetype of initiation in both men and women's psychology. After Henderson’s book was republished in 2005 Kirsch, Beane Rutter and Singer brought together this collection of essays to allow a new generation to explore the archetype of initiation. Initiation: The Living Reality of an Archetype demonstrates how the archetype of initiation is seen clinically today. Divided into distinct parts, the book explores the archetype of initiation in Dr Henderson’s own life, as well as suggesting its importance in: clinical practice culture aging and death. The chapters in this book amplify and extend the archetype of initiation from the earliest historical periods up to the present day. The editors argue that initiation symbolism often underlies contemporary phenomena, but is rarely recognized; Initiation helps to bring a new understanding to these experiences. This book will be of interest to psychotherapists with an interest in psychoanalysis and analytical psychology, as well as those training at analytic institutes.

Federico Fellini professed a desire to create “an entire film made of immobile pictures.” In this study, Hava Aldouby uses this quotation as a launching point to analyze Fellini’s films as sequences of “pictures” that draw extensively on art history, and particularly painting, as a reservoir of visual imagery. Aldouby employs an innovative pictorial approach that allows her to uncover a wealth of visual evocations overlooked by Fellini scholars over the years. Federico Fellini: Painting in Film, Painting on Film sheds light on the intertextual links between Fellini’s films and the works of various artists, from Velazquez to Francis Bacon, by identifying references to specific paintings in his films. Using new archival evidence from Fellini’s private library, brought to light for the first time here, Aldouby draws out Fellini’s in-depth knowledge of art history and his systematic employment of art-historical allusions.