Mythopoesis is a Greek-derived word that means "myth-making." Mythopoeia was used by the English author J. R. R. Tolkien in reference to creative art about "fundamental things." Mythopoesis is, therefore, the creation of myth by means of the higher imagination. Thus, the creation of myth is also one of the highest forms of storytelling. In this way, myths and myth-making are a source of meaning for human consciousness, which exists at the junction of two vast worlds or realities: the external world known to science and empirical observation and the inner world described in myth, art, imagination, and phenomenology in general. This inner world, the world of mythopoesis, is present in popular culture, such as novels, television, cinema, comic books, and computer games, in which archetypal themes have been re-shaped according to the understanding and worldview of contemporary authors and readers. The inner world is not just an epiphenomenon of the brain. It is as extensive and autonomous as the outer world. To use the terminology of esotericist scholar Henry Corbin, it is an "Imaginal World," which is the intermediate or transitional reality between the mundane or everyday reality on the one hand and spiritual, noetic, and transcendent reality or realities on the other. Mythopoesis and the Modern World draws inspiration from various authors, including (but not limited to) J. R. R. Tolkien, Henry Corbin, Joseph Campbell, Carl Gustav Jung, Sri Aurobindo, Mircea Eliade, Ken Wilber, and Jean Gebser. The book also studies mythopoesis and archetypes in the science fiction and fantasy genres in relation to mythological and metaphysical narratives.

In Mythopoetic Cinema, Kriss Ravetto-Biagioli explores how contemporary European filmmakers treat mythopoetics as a critical practice that questions the constant need to provide new identities, a new Europe, and with it a new European cinema after the fall of the Soviet Union. Mythopoetic cinema questions the perpetual branding of movements, ideas, and individuals. Examining the work of Jean-Luc Godard, Alexander Sokurov, Marina Abramović, and Theodoros Angelopoulos, Ravetto-Biagioli argues that these disparate artists provide a critical reflection on what constitutes Europe in the age of neoliberalism. Their films reflect not only the violence of recent years but also help question dominant models of nation building that result in the general failure to respond ethically to rising ethnocentrism. In close readings of such films as Sokurov's Russian Ark (2002) and Godard's Notre Musique (2004), Ravetto-Biagioli demonstrates the ways in which these filmmakers engage and evaluate the recent reconceptualization of Europe's borders, mythic figures, and identity paradoxes. Her work not only analyzes how these filmmakers thematically treat the idea of Europe but also how their work questions the ability of the moving image to challenge conventional ways of understanding history.

Donald Wiebe critically examines the pervasive assumption that theology is a form of religious thought that is both compatible with and supportive of religious faith. The irony, he argues, is that theology is in fact detrimental to religion and the religious way of life.

I have long admired the mythopoetic tradition in curriculum studies. That admiration followed from my experience as a high-school teacher of English in a wealthy suburb of New York City at the end of the 1960s. A “dream” job—I taught four classes of 15–20 students during a nine-period day—in a “dream” suburb (where I could afford to reside only by taking a room in a retired teacher’s house), many of these often Ivy-League-bound students had everything but meaningful lives. This middle-class, Midwestern young teacher was flabbergasted. In one sense, my academic life has been devoted to understanding that searing experience. Matters of meaning seemed paramount in the curriculum field to which Paul Klohr introduced me at Ohio State. Klohr assigned me the work of curriculum theorists such as James B. Macdonald. Like Timothy Leonard (who also studied with Klohr at Ohio State) and Peter Willis, Macdonald (1995) understood that school reform was part of a broader cultural and political crisis in which meaning is but one casualty. In the mythopoetic tradition in curriculum studies, scholars labor to understand this crisis and the conditions for the reconstruction of me- ing in our time, in our schools.

The Argentinian writer Julio Cortázar was clearly influenced by his predecessors John Keats and Edgar Allan Poe. However, to what extent? Which aspects of the two Romantics have been kept and which ones transformed by Cortázar’s imagination? And is there a common bond in the works of Keats and Poe which is also the common denominator for their works? And why these particular images, themes, or ideas? This books tries to answer all these questions and is of interest to everyone who wants to know more about Cortázar.

In this extensively illustrated book containing over 80 diagrams and images of artworks, David Burrows and Simon O'Sullivan explore the process of fictioning in contemporary art through three focal points: performance fictioning, science fictioning and machine fictioning.