neomythology

plural neomythologies · alternative neo-mythology

1. countableuncountableNew mythology.

   Heidegger’s Denkweg traces a path from demythologizing the mythic world of the scriptures to remythologizing the world in the accents of a Greek neomythology.

   1993, John D[avid] Caputo, Demythologizing Heidegger, Bloomington, Ind.; Indianapolis, Ind.: Indiana University Press, →ISBN, pages 169–170

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   There exist contemporary aremi sung in Spanish and based on a Christianized “neomythology” of Dioso, a god miraculously conceived in the womb of a girl by the snake master of the water domain.

   1988, Lawrence E[ugene] Sullivan, Icanchu’s Drum: An Orientation to Meaning in South American Religions, New York, N.Y.: Macmillan Publishing Company; London: Collier Macmillan Publishers, →ISBN, page 440

   In her poetry, Grahn continued this project of creating a “neomythology” in The Queen of Wands (1982) and The Queen of Swords (1987), the first two volumes of what Grahn envisions as a four-part series corresponding to the four suits of the Tarot.

   1995, Claude J. Summers, editor, The Gay and Lesbian Literary Heritage: A Reader’s Companion to the Writers and Their Works, from Antiquity to the Present, New York, N.Y.: Henry Holt and Company, →ISBN, page 340

   Today the ontogenesis of the Christian myth as a phenomenon of culture is impossible outside of the creation of neomythology as one of the ways to either break out of or acknowledge the power of faith. The creation of neomythology “feeds on” religion but as a world outlook and a form-giving force.

   1995, Iaroslava Boubnova, “No One Has Ever Seen God”, in Beyond Belief: Contemporary Art from East Central Europe, Museum of Contemporary Art, Chicago, →ISBN, page 55

   He also exploits what in other poems of the kind would have been a disadvantage—the presexual blankness of Mary’s femaleness—by the neomythology of explaining Mary’s shaping power over the natural scene of Nunappleton as a product of her devotion to “higher beauties,” those particularly of wisdom and the command of language.

   1997, Donald M. Friedman, “The Lady in the Garden: On the Literary Genetics of Milton’s Eve”, in Albert C. Labriola, editor, Milton Studies XXXV, University of Pittsburgh Press, →ISBN, page 127

   As intellectuals read the written text, compile ethnographies, tour the non-Western terrain, and make art out of the charred remnants of these quests, we always run the risk of fortifying the old culture with neomythologies that continue to invade the private space of others.

   1997, Robin M. Chandler, “The New Movement of the Center: A Theoretical Model for Future Analysis in Art Worlds”, in Pheobe Farris-Dufrene, editor, Voices of Color: Art and Society in the Americas, Humanities Press, →ISBN, page 41