西方神话

一个伪命题：中国神话不如西方神话发达

A False Proposition : Chinese Mythology Is Less than the Western Mythology

东方神话中女神得到着力歌颂，西方神话则是男神受到着力歌颂；

In eastern mythology goddess are extolled but in western mythology gods praised .

比较中西方神话透视其所蕴涵的文化精神

A Contrast of Cultural Spirits Implied Between Chinese and Western Legends

走出西方神话的阴影&论中国神话学界使用西方现代神话概念的成就与局限

Going out of the Shadow of the Western Myth

通过对中西方神话的改写，又成功地确认自己的身份，并寻求文化的融合。

Kingston successfully achieves her pursuit of cultural identification and integration through the displacement of Chinese and western myths .

弗莱认为作为西方神话代表的圣经是核心神话。

He holds that The Holy Bible which is the representative of the western myth is the core myth .

贾平凹小说中神话原型系统的建构不以西方神话原型理论为圭臬而是以民族文化作为根柢。在外部形态上呈现的是抒情性特征而非叙述性特征；

The construction of JIA Ping_ao 's novels mythological stereotype is based on Chinese culture rather than western ones .

试论中西方神话的民族属性与文化内涵中西绘画发展探源&水墨意笔绘画与印象主义绘画之比较

Comparison of National Characteristics and Culture Connotations in Western and Chinese Myths The Evolution of Chinese and western Painting

由于中西方神话服膺于人类文化共同的历史进程，故而存在着某些相似之处。

As Chinese and western legends take the common course of human civilization in coming into being , they share some similarities ;

第二，大量运用神话原型，包括西方神话及非洲民间传说，赋予了小说文字魔幻的神奇色彩。

Second , it abundantly employs mythological archetypes , including western myths and African folklores , which endow the words with fabulous meaning .

西方神话有一个完整庞大的神话传说系统，而东方神话只在古代的一些典籍中保存了部分神话传说的片断。

Western mythology has an enormous myth legendary system , but eastern mythologies are kept in part only in some sections of books .

从马克思对神话的定义出发，通过对神话本质的重新认识，最后可以得出中国神话不如西方神话发达根本就是一个伪命题。

In view of the mythical definition from Marx , and the essential reorganization of mythology correctly , it is a false proposition at all .

中西方神话因各自特征鲜明的民族特点和中西方文化来源的不同，在民族属性与文化内涵方面具有很大差异。

Because of the different national characteristics and originations , great diversity is manifested in the symbolic meanings and cultural connotations in the Eastern and Western myths .

西方神话强调的是人的自由性和人的本性，所架构下的神界和人界具有对话性，可以展开实质性对话。

But in the structure of occidental mythology dialogue exists and the essential dialogues can be achieved between human world and divine world , in which freedom and human 's nature is emphasized .

当西方神话被中印共同崛起为代表的亚洲崛起打破时，这将还原国际关系理论的历史文化内涵。

Rather , when the Western myth is destroyed by the rise of Asia through the co-rise of China and India , the history and cultural content of international relations theories finally will be restored .

第二部分从历史上探索西方神话的创造过程和规律，分析其社会心理背景以及深层的文化意蕴。

In the second part , the author explores from history the creation process and creation rules of the western myth and analyzes its social and mental background as well as its deep culture meanings .

发现中西方洪水神话根植的文化土壤和生活方式是其主要因素。

Finding the Chinese and western myths rooted cultural soil and lifestyle is the main factor .

西方的神话-原型批评于二十世纪后期传入中国，并在较短的时间为我国学者所认同和接受。

Prototypic analysis which was introduced into China in the late 20th century has been accepted by Chinese scholars .

西方之神话于20世纪初引入中国，由此开启了中国的神话研究。

The study of myth in China began with the introduction of myth in the West into China in the early 20th century .

将中国几十个民族的创世神话作为一个整体与西方创世神话进行比较研究，并试图阐释造成中西民族性格、宗教思维及文化心理差异的影响根源。

This article compares the creation mythology of Chinese minorities with that of the Westand tries to explain their influence on the national personality , religious thinking and cultural psychology .

在比较文学的中国学派阐发研究的框架下，运用西方的神话原型批评的理论，对中国文学作品中相依为命的人物关系程式进行分析，探究其文化心理结构。

With the Western theory " myth-prototype ", the author analyses the " dependenrelation pattern " between heroes in Chinese literary works and its cultural psychology , under the frame of comparison literature-Chinese school .

第一章阐述了以弗莱和荣格的理论为代表的原型批评理论及黑人社群和西方传统神话对莫里森小说创作的影响。

Chapter one expatiates the archetypal criticism , especially Northrop Frye and Carl Jung 's archetypal theory , as well as the influence of both African and Western cultural traditions on Toni Morrison 's writing of Sula .

这双重因素，使得悲剧具有了绝对性和永恒性，赋予其以西方古典神话色彩，作品也因此而走向形而上，成为西哲所说的以其形象创作揭示出潜隐的实在的伟大的艺术。

These two factors make the tragedy have its absoluteness , eternalness and western classical holy flavor , because of which the works has gone towards idealism and become " great art " which is characterized by " revealing hidden eternal existence with creative depicting " according to western philosophy .

西方文学与神话

Western Literary and Myth

如果说19世纪是西方理性宣布神话消亡的世纪，那么20世纪可以说是神话全面复兴的世纪。

In 19th century mythology is declared to be dying out by western logos , but in 20th century it rebounds .

西方文学从神话母体的孕育开始就保持着清晰表述的语言艺术传统，其依据是理性主义。

With rationalism as its basis , western literature has always been keeping a tradition to express clearly ever since mythology gave birth to it .

在治水人物上，西方的洪水神话是以神为本，体现了强烈的宗教意识；而中国的洪水神话则是以人为本。

The people who are in harnessing water , the west flood myth was God-centered and embodied a strong sense of religion while the Chinese flood myths is people-oriented .

另外，相似之处还体现在洪水神话大多产生在水源地区。然而，中西方的洪水神话也存在着明显的差别。

In addition , the similarity is that flood myth also manifested in most water areas . However , the flood myths of Chinese and in the west have a marked difference .

西方从希腊神话起，代表自然的旧神和代表精神生活的新神开始有了分化，有了“神一人一自然”三维结构的雏形。

In the West , from Greek myth , there developed a division between the old gods representing nature and the new gods representing spiritual lives , and3D model of " God-Nature-Man " was constructed .

这证明了东、西方宗教与神话传说中，以万物出于土又归于土的哲学思考是建立在物质运行规律基础之上的，是一种，科学的自然观。

This proves that the philosophical thought in eastern and western religions and myth that everything grows from the earth and dies in the earth is based on the schedule that matter goes according to , which is scientific .