ERIC ED370562: A Dialogue about Mythological Symbols from the Campfire to the Digital Age.

9 Pages·1993·0.26 MB·English

by  ERIC

DOCUMENT RESUME
ED 370 562
IR 055 015
AUTHOR
Seels, Barbara; Fredette, Barbara
TITLE
A Dialogue about Mythological Symbols from the
Campfire to the Digital Age.
PUB DATE
93
NOTE
9p.; In: Visual Literacy in the Digital Age: Selected
Readings from the Annual Conference of the
International Visual Literacy Association (25th,
Rochester, New York, October 13-17, 1993); see IR 055
055.
PUB TYPE
Viewpoints (Opinion/Position Papers, Essays, etc.)
Speeches/Conference Papers (150)
(120)
EDRS PRICE
MF01/PC01 Plus Postage.
DESCRIPTORS
Mass Media; *Mythology; Oral Tradition; *Symbols
(Literary); Visual Learning; *Visual Literacy
IDENTIFIERS
Information Age
ABSTRACT
This paper examines the role of myths and symbols in
society through the use of a hypothetical dialogue. The paper begins
by explaining what myths are and the functions they serve. Mythology
and mythical symbols of past and present are compared. These changes
in the nature of mythological symbols are explored through a dialogue
between an artist and a media producer. During this dialogue, the
importance of the study of myths as symbols in an age of global and
digital communication becomes apparent. The idea that a world
mythodology may evolve from media experiences is introduced. If this
is the case, visual literacy becomes important in order to prevent
manipulation through symbolism. (Contains 14 references.) (JLB)
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LU
A Dialogue About Mythological Symbols
1
from the Campfire to the Digital Age
-111116
by Barbara See ls
Barbara Fredette
University of Pittsburgh
4A16 Forbes Quadrangle
Pittsburgh, PA 15260
PERMISSION TO REPRODUCE THIS
MATERIAL HAS BEEN GRANTED BY
Alice Walker
2
TO THE EDUCATIONAL RESOURCES
BEST COPY AVAILABLE
INFORMATION CENTER (ERIC)."
A Dialogue About
Mythological Symbols from
Digital Age
the Campfire to the
Barbara See Is
Barbara Fredette
The themes of myth remain constant
This paper starts by explaining what myths
throughout time and space, but the texts and
are and the functions they serve.
Then,
images in the stories vary according to
mythology and mythical symbols past and
cultures and periods. In addition to cultural
present are compared. Changes in the nature
differences, there are variations in personal
of mythological symbols are explored through
responses to myths. People create personal
a dialogue between an artist and a
media
symbols as well as symbols that communicate
the
dialogue
this
During
producer.
to others. Myths are accessible through many
importance of the study of myths as symbols
to
these
but
"read"
referents,
symbolic
in an age of global and digital communication
symbols one needs adequate and appropriate
The idea that a world
becomes apparent.
education, education which deals with the
media
from
evolve
may
mytholdology
mythological meanings imbedded in images as
However, to
introduced.
is
experiences
well as with the words of a mythical story.
understand this premise the reader needs to
The traditional form for myths is linguistic,
know what myths are and how they relate to
but myths are also found in pictorial forms of
symbols.
language. To be mythologically literate it is
necessary to be able to decode meanings in
A myth is a fictitious story which
contemporary images as well as in stories.
According to
explains the meaning of life.
is a way to
helps
us
knowledge
Mythic
it
Joseph Campbell (1988),
understand the connotations of symbols as
experience life. He was convinced that the
universal messages.
common themes or archetypes found in stories
always
is
"Meaning
and images were universal despite cultural
broadened and endowed with
Myths and
variations (Cousineau, 1990).
by
power
sensory
great
of myths
the
same.
are
not
symbols
myths....
Mythical
Mythological stories often generate pictorial
consciousness accepts only
symbols which represent themes or aspects of
Myths
truths....
ultimate
myths. These stories helped early cultures to
connect us directly to a lofty,
explain the patterns of events they observed
universal ideal by speaking
recurring in their lives. Today these patterns
and reasoning with us
in
or
by
scientific
be
interpreted
may
tones colored by passions and
mathematical reasoning instead of stories.
feelings" (Biro, 1982, p. 75).
To be literate in mythology
we need to
perceived because the image is
taken literally.
understand myths in
contemporary form. We
The phenomenon of the
television show
need to be knowledgeable about
the universal
Beverly Hills 90710 is
an example. Because
ideas of myth so that
we may interpret the
adolescent viewers
it
accept
literally,
a
symbols of our world. To be
mythologically
distorted view of adolescence
can develop. If
means to
literate
for
look
the
mythic
it is seen as having mythological
implications,
dimension in the various images
provided by
it is interpreted
as having symbolic meaning
our culture. The world as seen from
space
and is less likely to be harmful.
The result of
may have a mythic presence, but only
to those
the literal interpretation
can be an assumption
who are aware of the mythic
dimension of
that this is what teenage life
is like in the
that image.
If one is aware of
mythic
United States.
Hans Blumenberg (1985)
connotations,
this meaning dimension
is
warns us about "manufactured myths"
which
readily apparent because
"The allusionary
do not have the significance of
genuine myths
base...is the generic term for
the stock of
but which try to evoke the
dignity of myth in
meaning with which
we think and feel"
association with emotionally
laden images,
(Broudy, 1988, p. 22).
slogans of racism or charismatic
leadership (p.
Mythical
understanding
a
is
critical
xxvi).
component of this allusionary base.
Consistent with the oral
tradition in
The person who is
not literate in
which myths originated, the
dialogue will be
terms of mythological themes and
images may
used to explore the
ramifications of the
see only parts and not the whole which
exists
changing role of mythological
imagery. The
through
the
of
interaction
meaningful
dialogue presents two views
on the role of
interrelationships.
Roland Barthes (1985)
visual literacy, that of the
artist and the media
raises the problem of
not being able to
producer.
decipher
the
code
that
explains
* * * * * * * * * * *
the
* * * * * * * *
relationships among images. When
life was
simpler and cultures
were more contained,
Artist:
Do we agree on what
a myth is?
mythic literature was manageable
because it
was limited to what was of most
concern to
Producer.
I'm not sure. I
use the word in
everyone in the culture.
The stories were
two different waysto describe
a type of story
simple and direct. Today's
stories and images
and to mean a false
assumption.
Are both
are complex composites that
may borrow
meanings necessary
to explain the role of
from many different mythic
sources.
mythology in visual learning?
Today we have access
to mythology
Artist:
Actually the Meanings have
changed
from many cultures and in
many forms. On
over time. In the past, mYths
were stories that
the one hand, the spread of
mythology beyond
helped
explain
other
unexplainable
the campfire makes
our mythic understanding
phenomena. But today when
we use the word
richer and more connected, but
on the other
we are usually referring to the
erroneous or
hand our mythic knowledge
may become
false assumptions that
we call myth.
confused by the scope of the
allusionary base.
There
are
dangers
associated
with
the
Producer:
Originally they
were used
worldwide representation of mythology.
Both
educationally. Plato believed
the child should
oversimplification
or
overwhelming
be educated through
myths.
Myths were
complexity can affect the understanding
of
accepted as important stories
even though
mythological meaning.
There are two real
they were known
to be untrue.
Myths are
dangers:
one is that we will try to find
supposed to be imaginary,
fantastic, and
mythological import in every image
and the
unreal. Mythical worlds
are full of unicorns,
other is that no mythological
meaning is
I'm not sure what that means.
Artist:
mermaids. gods, sirens, ghosts, dragons and
comfortable
you're
more
Perhaps
humans in bird form.
reinterpreting the events of the past than
I like the myths that
anticipating the futere.
The La forms are unreal, but there is
Artist:
specifically designed to help
stories
are
always an element of truth in their function.
These are
children cope with their lives.
Myths were our ancestors' way of reconciling
known and
stories referred to by Bettleheim as folk fairy
the
the
between
conflicts
A purist
with
disagree
might
tales.
unknown. The Greek word "mythos" meant
categorizing fairy tales as myths, but we're
things spoken which represented events. The
using the tam in the broad sense, aren't we?
Gothic form of mythos, was the word
These fairy tales or myths offered children
"mandjan" which meant to remind.
material that helped them form concepts of
the world's beginning and of the social ideals
Producer: When I think of the word "myth",
they could pattern themselves after. In these
I often think of the word "mystery". Perhaps
stories they went through trauma, but they
they are ways of explaining mysteries. I also
survived and rememberthey lived happily
think of the word "transformation". A myth
It's a
ever after. The child inherently realizes that
is an imaginative transformation.
these stories are about inner pro.:esses not
creative product. What's your favorite myth?
about the outside real world. Take the story
a
of
through
went
She
Cinderella.
Modern myth or historical myth?
Artist:
transformation didn't she? I like the myths of
transformation. That's why I like butterflies
If I know
Both?
Either?
Producer:
which, by the way, are the symbol of Psyche.
something about the myths you identify with,
a Greek goddess - a mythological character.
I know something about you, your self-
concept or sense of identity.
Freud would say our favorite
Producer:
our wish
myths represent our fantasies,
In that case, be my guest. You go
Artist:
fulfillment.
first.
But aren't myths more universal and
Artist:
I like Disney's story of The Little
Producer:
Jung's idea of the
social than individual?
I think it will become a modem
Mermaid.
by
represented
unconscious
collective
myth because it portrays the emotions that
archetypes connects all of us in a mythic
accompany the changes from adolescence to
It reminds me of my youngest
frame.
adulthood.
daughter who is a competitive swimmer with
I think myths are very dramatic,
Producer:
long flowing hair. She's very emotional and
and there has to be the suspension of disbelief
sings the songs from The little Mermaid all
you need with all drama in order to fully
the time.
experience the recreation of life. Myths are
stories which are essentially non-visual. But
I guess my favorite modem myths
mythic stories often gave birth to rituals
would be myths about individuality, such as
which are multisensory. These rituals provide
frontier myths of colonial or western times.
perceptual experience which is used by artists
It's fun to go to Disney World because so
The art in turn
as the basis for their art.
portrayed
are
in
many mythical
stories
becomes a visual reminder of the myth. This
Frontierland and Liberty Square. There's the
circuitous "connectedness" between myth and
Hall of Presidents, Tom Sawyer, and Wild
art gives a meaning dimension to many works
West Revue. I guess that tells ycu something
Myths are transmitted orally until
of art.
about me already because I like to go back to
someone translates them into a visual form.
another century and leave this one behind.
I'm not very interested in futuristic myths.
5
Artist:
Do myths change meanings when
myths like Horatio Algermore than ancient
they are represented by artists in visual rather
myths about God and mortals.
than verbal form?
Artat:
Don't forget about the myths with
some extent, but a picture can
Producer: To
quest themes like King Arthur's Knights of
still present the drama of a story. Mast great
the Round Table. They're journeys through
communication is story telling.
life, too.
Artist:
Myths evoke images in the mind.
There are mythic roles also. One
Producer:
Much of our visual language comes from
role is of innocence. It's very arcadian. The
mythic symbols.
other role is of cleverness. This is sometimes
the rob.- of the trickster.
These roles often
Like Yin and Yang.
Producer:
represent good and evil. That's the nice thing
Artist:
Yes, And there are other circular
about myths.
They simplify our moral
images of wholeness.
There are mandalas
dilemmas. Some of my favorite myths
are
from the Far East, sun masks from American
from the Northwest Indians who believed
Indians, sun discs from Polynesia, and rose
animals could transform themselves into
windows in cathedrals. They reflect both the
humans and back again and while doing
so
whole external world as well as the internal
could change roles from powerful characters
one, the psyche. In fact, a common theme in
to weak ones and back again.
In doing so
myths is a search for identity, for one's place
they confused people.
Those who didn't
in the world. Long ago Odysseus went
on his
know the story didn't recognize them and
quest, and today we fmd that modern myths
suffered
the
of
consequences
trusting
often have a quest to find one's self
as a
foolishly. Read some of the Raven stories.
theme.
Artist: Every culture has characters that have
They say there are only a few
Producer:
archetypal meaning. They enlarge the
story
basic plots or themes that dramatists have
of
our
lives
by
bringing
enrichment,
varied throughout centuries. This is true of
excitement and meaning to our individual
myths,
Different cultures develop
too.
experience.
They help us comprehend our
different symbols to represent customs,
norms,
human limitations.
beliefs, but the themes, the "metastories",
are
the same across cultures. They are universal.
They also give us guidelines for
Producer:
living that help us resolve conflicts with
Artist: What are they? What do myths from
ourselves and others.
This is one of the
the Orient have in common with myths from
powerful purposes myths have had through
South America? What do medieval myths
the ages.
have in common with modern myths?
Artist: The mythical image is very important
There are themes that have to do
Producer:
because it's born out of a confrontation with
with life and death. They often come from
reality leading to a search for meaning. The
hunting or planting cultures where the cycle
story represents a truth of life, but it's in
of growth is important. There are themes that
fantasy form so we can handle it,
no matter
have to do with relationships between male
how serious the topic.
and female or adult and child.
I guess the
themes I prefer have to do with ages of
think myths enable leaders to
Producer:
I
development, like childhood or adolescence,
lead us and artists to speak for
us.
Greek
nd the journey through life.
I like modern
civilization and art depended on
common
ideas, held by all.
Visionaries clarify and
6
Interpretation of images is a
Until lealers find new
build on myths.
interpretation.
skill which must be learned.
mythic visions we accept, they will have
trouble leading us.
What about power myths? I've
Producer:
always thought Barbie, Rambo and Superman
I have doubts about myths moving
Artist:
were modem power myths because they were
into the political arena. Perhaps the political
arena is a myth in
The role of
symbols of extraordinary power.
itself.
advertising in this mythmaking effort should
I question the ,:thics of
Yes and so was James Dean. But
be examined.
Artist:
are
shallow
these
very and
consciously creating contemporary myths for
examples
superficial. They're hollow myths. They're
controlling people.
don't
they
but
mythological
symbols,
Myths have alwar been in the
represent well developed myths.
Producer:
social arena; so they've always been in the
Producer
There are some attempts in the
political arena.
media to create persona who deal with
universal truths and who have more depth of
Historically, myths were given visual
Artist:
form to help people reflect on their life
character.
Today it seems our myths in
experience.
visual form are designed to evoke non-
Maybe. Our old myths were usually
Artist:
When you receive a
of heros. But today seems to be the age of
reflective responses.
letter telling you by name that you are a
the anti-hero, of the myth of the common
man. What mythic role would we assign to
fthalist in a $10 million sweepstakes, the
sender doesn't want you to think about it.
Marilyn Monroe? what about celebrities such
as John Wayne? Is he a mythic hero.
Some people may consider that
Producer:
I think so.
There's a famous
Producer:
letter a lie, not a myth. Others might say it's
in American history by Frederick
a modern myth that evolved from mass media. thesis
It's
Turner that's called the frontier thesis.
Do you believe our myths are still forming?
fallen into disrepute but was very popular at
one time. Turner said the idea of the frontier
What do you mean?
Artist:
was essential to the American character. That
Producer:
I think that the world is in a time
whether an American experienced the frontier
There are so many images
or not, it was part of our mythology and led
of transition.
everyone sees, images of the world from
to values, such as individuality. John Wayne
space and of the environment, images of
is certainly the archetype for that thesis.
people rebelling for freedom around the
world. We don't know yet how people will There are a lot of myths in history
Artist:
Myths may
that influence our behavior. Just look at the
spithesize
these
images.
number of frontier myths alone.
spontaneously result either through media
Davy
Crocket was no paragon. Gunslingers killed
coverage and criticism or media productions.
few in the west. There are so many myths
In the past, after a myth evolvel artists often
It's hard for me to
or
about
Indians, say,
created mythic images.
should
Native
I
believe we won't have a world mythology
Americans.
from media experiences.
I think the myth that they were
Producer:
uncommonly savage proves my point about
Yes, I think through media all of us
Artist:
myths being political or used by leaders.
have contaci with the symbols of today's
History is written by the winners.
The
may with
be
problem
world.
is a
Artist
iconic and verbal form.
Are we entering the realm of myths
in
This
as
assumptions
and
rather
than
metaphysical or cosmologic I function.
stories
complex image?
I'd add two more functions.
Producer:
Producer
I think so.
But look at our
There is obviously a sociological function.
presidents. There are many myths about them
Myths help maintain the morals and manners
and many of the myths are associated with
of a culture.
And there's a pedagogical
mythic
images.
Several
presidents
function. They teagh people how to live in
campaigned as being born in log cabins or
harmony through the passages of life from
birth to death.
born poor. But Lincoln and Lyndon Johnson
This is where the most
weren't poor, and Harrison wasn't born in a
universal themes are seen in myth.
log cabin.
The question is, can an actual,
real,human being be a myth? Many would
I think the primary function of
Artist:
say this is not possible because by definition
traditional mythology was best described by
mythological characters are fabrications in all
Goethe. He said that in myth the particular
cultures. Mythological characters are greater
stands for the general revealing momentarily
than men or women. Sometimes, however, a
the unknowable.
However, over time the
real
persona takes
on
mythological
educational or teaching value of myth has
ghe
characteristics
because
to
comes
diminished. Myth makers of today assume
symbolize mythological, larger than life or
that the visual imagery (or stimulus) they
universal qualities (Biro, 1982).
present
will
elicit
instant
unconsidered
response by the reviewers. This means that
Artist
But stories and images associated
the viewer must be able to interpret and
with leaders such as presidents of the United
respond critically based on an understanding
States reflect the journey through life that is
of mass media's use of mythological symbols.
the concern of mythology.
Producer:
The relationship of myth to the
semiotics of images which become cultural
Producer
Media figures can become
symbols is interesting.
In his book on The
mythical images. They may or may not help
Semiotic of Myth, James J. Liszka explains
to
develop
global
or
why the study of myths as symbols is
consciousness
understanding. Maybe ritual is no longer the
important. He says that to the extent that they
core of mythology.
Maybe multi-cultural
are believed, myths are dangerous symbols
understanding through media is.
because they form a web that allows control
of the culture. To subject myth to criticism is
I don't think so.
Artist:
Mythology has
to criticize the culture. To control the myths
always had several clear functions, and multi-
of a culture is to control the people. To allow
cultural education hasn't been one, although
criticism is to dilute this power of control.
many people such as Joseph Campbell have
The study of the semiotics of symbols is
used mythology for that purpose.
Cross-
to preventing control by dogma
crucial
cultural
themes
in
myths
identify
(Liszka, 1989).
* * * * * * * * * * * * * * * * * * *
commonalities but do not necessarily promote
understanding of differences.
The best defense against control by
Producer:
What do you think the functions
of the
is
mythology
an
understanding
of mythology are?
semiotics of mythological symbols. If global
media experiences in a digital age are likely
First, to give us an outlet for our
Artist:
to lead to a world mythology, visual literacy
sense of wonder? This is a mystical function.
order to
becomes important
in
prevent
Next, to represent a culture in terms of ideas
manipulation through symbolism. The first
8
Cousineau, P. (Ed.). (1990).
The hero's
step is to understand the nature of visual
The world of Joseph
journey:
symbols of mythology by studying them.
Campbell. NY: Harper & Row.
Then, what is learned will have to be related
to educational goals. Scholars would do well
Eliot, A. (1990). The universal myths. NY :
to turn to the study of modern mythology and
is generated instead of pursuing
how it
Meridian.
Aphrodite, Athena and Zeus.
Liszka, J. J. (1950). The semiotic of myth: A
of
the
critical
symbol.
study
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