Abstract
In this article, the writer discusses that the critical perspective known as mythic criticism is defined as that which explores the nature and significance of the archetypes and archetypal patterns in a work of art. In this analysis the writer explores some of the ways in which the popular science fiction movie 'Time After Time' (1979) expresses its narrative in mythic terms. The writer maintains that the filmmakers have followed the lead of much science fiction by their innovative use of fact and fantasy to create a new myth for the scientific age.

From the Paper
"According to 'A Handbook to Literature', the critical perspective known as mythic criticism is defined as that "which explores the nature and significance of the archetypes and archetypal patterns in the work". In this context, myth can be defined as that which portrays "a projection of social patterns upward onto a superhuman level that sanctions and stabilizes the secular ideology". The same definition goes on to explain that myths, among their other functions, "attempt to explain creation, divinity, and religion; to probe the meaning ..."

Tags:mythic, analysis, archetypes

Abstract
In this article, the writer utilizes East Asian Studies course materials to describe pre-modern Chinese admixture of time, history and memory, as influenced consciousness. The writer discusses that the example of the Qin Dynasty shows how the mythical story of Qin victory rather ignores the defeated warring states that shortly after the first emperor's death instigated rebellions that gave way to the Han Dynasty. The writer discusses that all the same, the legend of the Qin unification remained in place for centuries and theoretical notes on the individual, time, space and historical consciousness as mirrors of one another, in contrast with Western ideas of facts in sequence.

Tags:time, history, modern

Abstract
The paper explores some of the ways in which the popular science fiction movie "Time After Time" (1979) expresses and unfolds its narrative in mythic terms. The paper defines the expressions "mythic criticism" and "the archetype" and shows how the film reveals more of a mythic substratum than its makers may even have intended. The paper concludes that the filmmakers of "Time After Time" have followed the lead of much science fiction by their innovative utilization of fact, fiction and fantasy to create a new myth for the scientific age.

From the Paper
"According to A Handbook to Literature, the critical perspective known as mythic criticism is defined as that "which explores the nature and significance of the archetypes and archetypal patterns in the work" (Harmon and Holman 136). In this context, myth can be defined as that which portrays "a projection of social patterns upward onto a superhuman level that sanctions and stabilizes the secular ideology" (338). The same definition goes on to explain that myths, among their other functions, "attempt to explain creation, divinity, and religion; to probe the meaning of existence and death; to account for natural phenomena; and to chronicle the adventures of cultural heroes" (338). In reference to the archetype, the same handbook defines this term as a "primordial image" which draws upon the "prelogical mentality" (subconscious) of the reader / viewer and is frequently encountered in myth and folklore (41)."

Tags:archetypes, patterns, cultural, heroes, folklore, antagonist, antihero

Abstract
In world mythology, tricksters make the world what it is. They draw outside the lines, think outside the box, are powerful, mischievous and often happy, despite the reversals their unorthodox behavior causes. The best of them transcend being tricksters and become bona fide mythic heroes. This paper compares the lives and achievements of two tricksters-turned-heroes, Ireland's first great king, Brian Boru who was killed in battle in 1014 and N.Y.C.'s mayor during the 911 tragedy, Rudolph Giuliani. The paper explores how these men made the transition from trickster to hero and how they ensured their myths would endure.

From the Paper
"For Boru, it was his death. His martyrdom by a disgruntled and treacherous vanquished enemy ensured his fame for generations.
Giuliani did not have to die. In fact, he surmounted prostrate cancer, although it derailed his quest for the Senate, giving the position to Hilary Rodham Clinton instead. But then there was the World Trade Center disaster on September 11, 2001. Giuliani's leadership after that horrific attack on his city took him forever out of Trickster in the popular mind to hero."

Tags:September, 11, Norse, Vikings, Battle, Clontarf, F.B.I

Abstract
This paper takes the reader on a journey though time when it analyzes the function of ritual in "The Story of the Grail" by De Chretien Tores. The stories of mythical times continue to entice and fascinate readers even today. They are imaginations candy and a way to escape to the world in which magic exists and superpowers are the norm. The story of Perceval and the Grail is an especially touching one.

Abstract
According to our understanding of Greek mythology, Pandora was the first woman created by the gods and given to the humans as punishment for accepting the forbidden fire. This paper examines how the Pandora myth has been presented through time, beginning with Grecian art and culture, through the classical and Renaissance eras, and, finally, to contemporary times. It examines how the story of Pandora has also changed according to beliefs in the era in which it was told.

From the Paper
"However, after Grecian culture was devoured by Roman culture, and Roman culture in term submerged in a Judeo-Christian medieval mindset, Pandora's roots were increasingly obscured. As mentioned above, the story of her temptation and release of evil into the world bears a striking resemblance to that of the Judeo-Christian Eve. This association with Eve unfortunately linked Pandora to a huge theological mess of misogyny and sexual paranoia. Medieval philosophy and Christian theology became increasingly hysterical about the sins of Eve, to a point that all women were seen as temptresses whose sexuality was linked with mortality."

Tags:Epimetheus, Pygmalion, Hesiod, Waterhouse

Abstract
This paper looks at two great poems, written by Homer, "The Iliad" and "The Odyssey," which are considered to be two of the greatest epic poems ever written. The paper also examines the notion that there was more than one author of these poems, and addresses the "Homeric Question," as it has become known. The author examines the poems in detail, and posses several questions as to how they were written, and whether or not they were written, at all. Several commentaries written about these poems are examined in detail, in order to support the notion that perhaps, they were plays, whose details were handed down orally to the people of the time, and the real authors, were the actors and performers themselves.

From the Paper
"For example, certain noun-epithet phrases such as "swift-footed Achilles" reoccur with startling frequency throughout the Iliad. (Lord 73) Book Nine begins with a meeting of the Greek camp. As they frequently are, the leaders are addressed by their customary names, referring to their birth. Diomedes, for instance, is "Son of Tydeus" and Agamemnon is the "son of Atreus." (Translation of Fitzgerald 205-206) There is no immediate need to refer to the parentage of these characters within the context of the tale. Parry's theory suggests that this is done, not out of any literary attempt to recall that Agamemnon comes from a cursed line, for instance, but rather because it "flows" within the context of the speaker's meter and because it provides a "handle" for the teller to remember the speaker. Diomedes, unlike Agamemnon, comes from a royal but innocuous line yet is no less referred to by this customary reference to his parentage than is his leader. Of course, the two men come from a paternal society that is dependent upon the birth one has inherited by one's father. This may be the reason that such epitaphs became common tropes within the characteristics of oral transmissions of epic poetry. But simply because it is the larger, societal reason for this phenomenon does not mean that it is why these particular phrases are arising in these particular contexts."

Tags:homer, odessey, iliad, greek, roman, question, poetry, birth, society, epic, poems, classical, roots, repetitive, contradictions, classical, oral, performances, epithets, achilles, ajax, composer, poet, language, construction, culture, scholar, mythic, emotional, literally, figurative

Abstract
This paper explains that Charles Dickens was one of the most admired and great fictional intellects of all time; only Shakespeare can compete with his creativity. The author points out that Dickens' quick grasp of conversation helped him to create colorful characters through their own words. The paper relates that Dickens was not only a writer but also a public figure, extensively regarded as the best after-dinner speaker, the best part-time actor of his day and a mythic figure.

Table of Contents
Introduction
Life of Charles Dickens
The Works of Charles Dickens
Life Experiences of Charles Dickens
Contributions of Charles Dickens
Social Class according to Charles Dickens
Charles Dickens on Childhood
Conclusion

From the Paper
"Charles Dickens was born on 7th February 1812 to John and Elizabeth Dickens. His father John Dickens worked as a clerk at the Navy pay office in Portsmouth. He later worked in Chatham and Charles the second of seven children went to the local school. John Dickens found it hard to afford for his growing family with his scanty income. In 1822, the family shifted to Camden Town in London. John Dickens unpaid sum had become so huge that all the household goods were sold. As he was not able to convince his creditors, he was arrested and sent to Marshalsea Prison. Charles found work at Warren's Blacking Factory at the age of twelve and he was paid six shillings a week for covering shoe black bottles. Six months after John was sent to prison, one of his relatives died leaving behind a large sum of money. John used this money to pay off his debts and he left the prison. Some money he used for educating Charles in a nearby private school, Wellington House Academy."

Tags:intellect, public, conversation, expectations, financial

Abstract
In this article, the writer notes that the development of Dante's 'Divine Comedy' is a development of self. This individual travels from shallow to more authentic experiences as he or she travels through the different worlds or levels of hell. The writer points out that similarly Jungian archetypal theory demonstrates the same sort of idea. The individual travels through a traditional set of concepts that range in depth from very shallow to much deeper and more authentic, until one becomes what is considered the true self which is steeped in the concept of the old soul and is the mythic combined with the human. The writer maintains that the archetypes associated with Jungian theory are clearly and concisely illuminated in the depths of the 'Divine Comedy'. The writer concludes that each archetype is given its appropriate time and due character while Dante the pilgrim seeks to entertain how he above others can more closely live the life of the wise old man, who he assumed was Virgil but was really himself.

From the Paper
"The shadow coincides with early Dante, when he is drawn by sin and temptation and on the verge of suicide. He is in need of intervention, in this case Virgil (the wise old man) to accompany him and give him guidance as he does not know himself or his place in the world. He is also in need of Beatrice, his lost love to come to him and explain the virtue of the journey and to introduce him to his guide, the wise old man a concept illuminated later that will lead us between the acceptance of the feminine Animus within himself as nothing to fear. For Dante the shadow is really his grief, as he wanders about the world trying to do and say the right thing but not knowing himself well enough to known what the right or wrong thing for him is."

Tags:self, wisdom, journey, travels

Abstract
This paper discusses the legacy of Sandro Botticelli, known as one of the best and most spiritually enlightened of the Neo-Platonic Renaissance painters who was eventually hired by the Pope to work on the Sistine Chapel. He was born to an artisan-class family of tanners where his artistic temperament was ignored and started his working career as a goldsmith until he received his first apprenticeship as an artist. Eventually he rose to fame, gained more commissions, both creating panels and the like for rich merchant families and frescoes and other church decorations. He became known for his dreamy and melancholic mythic religiosity and implications of human form and feature and ranked among the greatest of the allegorical and mystical painters of his time.

From the Paper
"Sandro's original apprenticeship as an artist was under the legendary Fra Filippo Lippi. In many ways this was a fortunate choice in masters; Botticelli's mystical and dreamy nature fit well with Lippi's penchant for the ideal and devotional. An apprenticeship in one of the more modern, naturalistic studios might have created a far different Sandro Botticelli, or hidden his actual talent. (Botticelli, 13) Lippi's influence is obvious in most of his student's early work, to such a degree that most of the earliest Botticelli paintings are virtually recreations of Lippi pieces, keeping content and design and scene in common while changing method and form ever so slightly. The resemblance between Botticelli's Madonna Guidi and Lippi's Madonna and Child with Angel is far from accidental."

Tags:medici, neo-platonic, sistine, chapel, pope, vespucci, apprenticeship