|Lista de mitologías|
El mito es un género folclórico formado por narrativas que juegan un papel fundamental en una sociedad, como los cuentos fundacionales o los mitos de origen . Los personajes principales de los mitos no suelen ser humanos como dioses , semidioses y figuras sobrenaturales .     Sin embargo, otros también incluyen humanos, animales o combinaciones en su clasificación de mitos.  Las historias de seres humanos cotidianos, aunque a menudo de líderes de algún tipo, suelen estar contenidas en leyendas , a diferencia de los mitos.  Los mitos a veces se distinguen de las leyendas en que los mitos tratan sobre dioses, por lo general no tienen base histórica y tratan de un pasado remoto en el que el mundo era mucho más diferente que el presente.  
Los mitos suelen ser respaldados por gobernantes y sacerdotes o sacerdotisas y están estrechamente vinculados a la religión o la espiritualidad .  Muchas sociedades agrupan sus mitos, leyendas e historia juntos, considerando los mitos y leyendas como verdaderos relatos de su pasado remoto.     En particular, los mitos de la creación tienen lugar en una época primordial cuando el mundo no había alcanzado su forma posterior.    Otros mitos explican cómo se establecieron y santificaron las costumbres , instituciones y tabúes de una sociedad .  Existe una relación compleja entre la narración de mitos y la realización de rituales .
El término mitología puede referirse al estudio de los mitos en general oa un conjunto de mitos sobre un tema en particular.  El estudio del mito se inició en la historia antigua . Las clases rivales de los mitos griegos de Euhemerus , Platón y Salustius fueron desarrolladas por los neoplatónicos y más tarde revividas por los mitógrafos del Renacimiento . Hoy en día, el estudio del mito continúa en una amplia variedad de campos académicos, incluidos los estudios del folclore , la filología , la psicología y la antropología . Además, las comparaciones académicas de cuerpos de mitos se conocen como mitología comparada .
Dado que el término mito se usa ampliamente para implicar que una historia no es objetivamente verdadera , la identificación de una narrativa como un mito puede ser sumamente política: muchos seguidores de religiones ven las historias de su religión como verdaderas y, por lo tanto, se oponen a que las historias se caractericen como mitos. mientras ve las historias de otras religiones como un mito. Se puede pensar que etiquetar todas las narrativas religiosas como mitos equivale a tratar diferentes tradiciones con paridad. 
Las definiciones de mito varían en cierta medida entre los estudiosos, aunque el folclorista finlandés Lauri Honko ofrece una definición ampliamente citada: 
Mito, una historia de los dioses, un relato religioso del comienzo del mundo , la creación , eventos fundamentales, las obras ejemplares de los dioses como resultado de lo cual el mundo, la naturaleza y la cultura fueron creados junto con todas sus partes y se les dio su orden, que todavía se obtiene. Un mito expresa y confirma los valores y normas religiosos de la sociedad, proporciona un patrón de comportamiento a imitar, da testimonio de la eficacia del ritual con sus fines prácticos y establece la santidad del culto .
Los estudiosos de otros campos utilizan el término mito de diversas formas.    En un sentido amplio, la palabra puede referirse a cualquier historia tradicional ,    concepto erróneo popular o entidad imaginaria . 
Sin embargo, aunque el mito y otros géneros folclóricos pueden superponerse, a menudo se piensa que el mito difiere de géneros como la leyenda y el cuento popular en que ninguno de los dos se considera narraciones sagradas .   Algunos tipos de cuentos populares, como los cuentos de hadas , no son considerados verdaderos por nadie y pueden ser vistos como distintos de los mitos por esta razón.    Los personajes principales en los mitos suelen ser dioses , semidioses o humanos sobrenaturales ,    mientras que las leyendas generalmente presentan a los humanos como sus personajes principales.  Sin embargo, existen muchas excepciones o combinaciones, como en la Ilíada , la Odisea y la Eneida .   Además, a medida que las historias se difunden entre culturas o cambian las religiones, los mitos pueden llegar a ser considerados cuentos populares, sus personajes divinos reformulados como humanos o semihumanos como gigantes , elfos y hadas .    A la inversa, el material histórico y literario puede adquirir cualidades mitológicas con el tiempo. Por ejemplo, el asunto de Gran Bretaña (la historia legendaria de Gran Bretaña, especialmente aquellos centrados en el Rey Arturo ylos caballeros de la Mesa Redonda )  y la Materia de Francia , parecen tener un origen lejano en acontecimientos históricos de los siglos V y VIII respectivamente, y se mitificaron durante los siglos siguientes.
En el uso coloquial, la palabra mito también puede usarse para referirse a una creencia colectiva que no tiene ninguna base de hecho, o una historia falsa.  Este uso, que a menudo es peyorativo ,  surgió al etiquetar los mitos religiosos y creencias de otras culturas como incorrectos, pero se ha extendido para cubrir también creencias no religiosas. 
Sin embargo, como lo usan comúnmente los folcloristas y académicos en otros campos relevantes, como la antropología , el término mito no implica si la narrativa puede entenderse como verdadera o no.  Entre los eruditos bíblicos tanto del Antiguo como del Nuevo Testamento, la palabra "mito" tiene un significado técnico, ya que generalmente se refiere a "describir las acciones del otro mundo en términos de este mundo", como la Creación y la caída. 
Es posible que sea necesario reescribir esta sección para cumplir con los estándares de calidad de Wikipedia . Enero de 2021 )(
En el uso actual, la mitología generalmente se refiere a los mitos recopilados de un grupo de personas, pero también puede significar el estudio de dichos mitos.  Por ejemplo, la mitología griega , mitología romana , y la mitología hitita toda describir el cuerpo de mitos volvieron a contar entre las culturas. 
La recopilación o descripción de mitos a veces se conoce como mitografía , un término que también puede usarse para una antología académica de mitos (o, confusamente, del estudio de los mitos en general). 
Entre los mitógrafos clave de la tradición clásica se incluyen: 
- Ovidio (43 a. C. – 17/18 d. C.), cuyos relatos de mitos han tenido una profunda influencia;
- Fabius Planciades Fulgentius , un escritor latino de finales del siglo V a principios del VI, cuyas Mitologías (en latín : Mitologiarum libri III ) reunieron y dieron interpretaciones moralistas de una amplia gama de mitos;
- los mitógrafos vaticanos medievales anónimos , que desarrollaron antologías de mitos clásicos que siguieron siendo influyentes hasta el final de la Edad Media; y
- La erudita del Renacimiento Natalis Comes , cuyo Mythologiae de diez libros se convirtió en una fuente estándar para la mitología clásica en la Europa del Renacimiento posterior.
Otras mitografías destacadas incluyen la prosa Edda del siglo XIII atribuida al islandés Snorri Sturluson , que es el principal estudio sobreviviente de la mitología nórdica de la Edad Media.
Jeffrey G. Snodgrass (profesor de antropología en la Universidad Estatal de Colorado  ) ha calificado a los Bhats de la India como mitógrafos. 
Debido a que el mito a veces se usa en un sentido peyorativo , algunos eruditos han optado por usar el término mythos en su lugar.  Sin embargo, el mito ahora se refiere más comúnmente a su sentido aristotélico como un "punto de la trama" o un cuerpo de mitos o historias interconectados, especialmente aquellos que pertenecen a una tradición religiosa o cultural particular.  A veces se usa específicamente para mitologías ficticias modernas, como la construcción del mundo de HP Lovecraft .
Mythopoeia ( mytho- + -poeia , 'hago mito') se denominó por JRR Tolkien , entre otros, para referirse a la "generación consciente" de la mitología.   También fue notoriamente sugerido, por separado, por el ideólogo nazi Alfred Rosenberg .
La palabra mito proviene del griego antiguo μῦθος ( mȳthos ),  que significa "habla, narrativa, ficción, mito, trama". En forma anglicanizada , esta palabra griega comenzó a usarse en inglés (y también se adaptó a otros idiomas europeos) a principios del siglo XIX, en un sentido mucho más estricto, como un término académico para "[una] historia tradicional, especialmente una relacionada con la historia temprana de un pueblo o que explica un fenómeno natural o social, y generalmente involucra seres o eventos sobrenaturales ".  
In turn, Ancient Greek μυθολογία (mythología, 'story,' 'lore,' 'legends,' or 'the telling of stories') combines the word mȳthos with the suffix -λογία (-logia, 'study') in order to mean 'romance, fiction, story-telling.' Accordingly, Plato used mythología as a general term for 'fiction' or 'story-telling' of any kind.
El término griego mitología fue luego tomado prestado en latín tardío , apareciendo en el título de Mitología del siglo V del autor latino Fulgentius para denotar lo que ahora llamamos mitología clásica , es decir, historias etiológicas grecorromanas que involucran a sus dioses. La Mythologiæ de Fulgentius trató explícitamente su tema como alegorías que requieren interpretación y no como eventos verdaderos. 
The Latin term was then adopted in Middle French as mythologie. Whether from French or Latin usage, English adopted the word mythology in the 15th century, initially meaning 'the exposition of a myth or myths,' 'the interpretation of fables,' or 'a book of such expositions'. The word is first attested in John Lydgate's Troy Book (c. 1425).
From Lydgate until the 17th or 18th century, mythology was used to mean a moral, fable, allegory or a parable, or collection of traditional stories, understood to be false. It came eventually to be applied to similar bodies of traditional stories among other polytheistic cultures around the world.
Thus the word mythology entered the English language before the word myth. Johnson's Dictionary, for example, has an entry for mythology, but not for myth. Indeed, the Greek loanword mythos (pl. mythoi) and Latinate mythus (pl. mythi) both appeared in English before the first example of myth in 1830.
Meanings in Ancient Greece
The term μῦθος (mȳthos) appears in the works of Homer and other poets of Homer's era, in which the term had several meanings: 'conversation,' 'narrative,' 'speech,' 'story,' 'tale,' and 'word.'
Similar to the related term λόγος (logos), mythos expresses whatever can be delivered in the form of words. These can be contrasted with Greek ἔργον (ergon, 'action,' 'deed,' or 'work'). However, the term mythos lacks an explicit distinction between true or false narratives.
In the context of Ancient Greek theatre, mythos referred to the myth, narrative, plot, and the story of a play. According to David Wiles, the Greek term mythos in this era covered an entire spectrum of different meanings, from undeniable falsehoods to stories with religious and symbolic significance.
According to philosopher Aristotle (384–322 BCE), the spirit of a theatrical play was its mythos. The term mythos was also used for the source material of Greek tragedy. The tragedians of the era could draw inspiration from Greek mythology, a body of "traditional storylines" which concerned gods and heroes. David Wiles observes that modern conceptions about Greek tragedy can be misleading. It is commonly thought that the ancient audience members were already familiar with the mythos behind a play, and could predict the outcome of the play. However, the Greek dramatists were not expected to faithfully reproduce traditional myths when adapting them for the stage. They were instead recreating the myths and producing new versions. Storytellers like Euripides (c. 480–406 BCE) relied on suspense to excite their audiences. In one of his works, Merope attempts to kill her son's murderer with an axe, unaware that the man in question is actually her son. According to an ancient description of audience reactions to this work, the audience members were genuinely unsure of whether she would commit filicide or she will be stopped in time. They rose to their feet in terror and caused an uproar.
David Wiles points that the traditional mythos of Ancient Greece, was primarily a part of its oral tradition. The Greeks of this era were a literate culture but produced no sacred texts. There were no definitive or authoritative versions of myths recorded in texts and preserved forever in an unchanging form. Instead multiple variants of myths were in circulation. These variants were adapted into songs, dances, poetry, and visual art. Performers of myths could freely reshape their source material for a new work, adapting it to the needs of a new audience or in response to a new situation.
Children in Ancient Greece were familiar with traditional myths from an early age. According to the philosopher Plato (c. 428–347 BCE), mothers and nursemaids narrated myths and stories to the children in their charge: David Wiles describes them as a repository of mythological lore.
Bruce Lincoln has called attention to the apparent meaning of the terms mythos and logos in the works of Hesiod. In Theogony, Hesiod attributes to the Muses the ability to both proclaim truths and narrate plausible falsehoods (i.e., falsehoods which seem like real things). The verb used for narrating the falsehoods in the text is legein, which is etymologically associated with logos. There are two variants in the manuscript tradition for the verb used to proclaim truths. One variant uses gerusasthai, the other mythesasthai. The latter is a form of the verb mytheomai ('to speak,' 'to tell'), which is etymologically associated with mythos. In the Works and Days, Hesiod describes his dispute with his brother Perses. He also announces to his readers his intention to tell true things to his brother. The verb he uses for telling the truth is mythesaimen, another form of mytheomai.
Lincoln draws the conclusion that Hesiod associated the "speech of mythos" (as Lincoln calls it) with telling the truth. While he associated the "speech of logos" with telling lies, and hiding one's true thoughts (dissimulation). This conclusion is strengthened by the use of the plural term logoi (the plural form of logos) elsewhere in Hesiod's works. Three times the term is associated with the term seductive and three times with the term falsehoods. In his genealogy of the gods, Hesiod lists logoi among the children of Eris, the goddess personifying strife. Eris' children are ominous figures, which personify various physical and verbal forms of conflict.
Comparative mythology is a systematic comparison of myths from different cultures. It seeks to discover underlying themes that are common to the myths of multiple cultures. In some cases, comparative mythologists use the similarities between separate mythologies to argue that those mythologies have a common source. This source may inspire myths or provide a common "protomythology" that diverged into the mythologies of each culture.
A number of commentators have argued that myths function to form and shape society and social behaviour. Eliade argued that one of the foremost functions of myth is to establish models for behavior and that myths may provide a religious experience. By telling or reenacting myths, members of traditional societies detach themselves from the present, returning to the mythical age, thereby coming closer to the divine.
Honko asserted that, in some cases, a society reenacts a myth in an attempt to reproduce the conditions of the mythical age. For example, it might reenact the healing performed by a god at the beginning of time in order to heal someone in the present. Similarly, Barthes argued that modern culture explores religious experience. Since it is not the job of science to define human morality, a religious experience is an attempt to connect with a perceived moral past, which is in contrast with the technological present.
Pattanaik defines mythology as "the subjective truth of people communicated through stories, symbols and rituals." He says, "Facts are everybody's truth. Fiction is nobody's truth. Myths are somebody's truth."
One theory claims that myths are distorted accounts of historical events. According to this theory, storytellers repeatedly elaborate upon historical accounts until the figures in those accounts gain the status of gods. For example, the myth of the wind-god Aeolus may have evolved from a historical account of a king who taught his people to use sails and interpret the winds. Herodotus (fifth-century BCE) and Prodicus made claims of this kind. This theory is named euhemerism after mythologist Euhemerus (c. 320 BCE), who suggested that Greek gods developed from legends about human beings.
Some theories propose that myths began as allegories for natural phenomena: Apollo represents the sun, Poseidon represents water, and so on. According to another theory, myths began as allegories for philosophical or spiritual concepts: Athena represents wise judgment, Aphrodite desire, and so on. Müller supported an allegorical theory of myth. He believed myths began as allegorical descriptions of nature and gradually came to be interpreted literally. For example, a poetic description of the sea as "raging" was eventually taken literally and the sea was then thought of as a raging god.
Some thinkers claimed that myths result from the personification of objects and forces. According to these thinkers, the ancients worshiped natural phenomena, such as fire and air, gradually deifying them. For example, according to this theory, ancients tended to view things as gods, not as mere objects. Thus, they described natural events as acts of personal gods, giving rise to myths.
According to the myth-ritual theory, myth is tied to ritual. In its most extreme form, this theory claims myths arose to explain rituals. This claim was first put forward by Smith, who argued that people begin performing rituals for reasons not related to myth. Forgetting the original reason for a ritual, they account for it by inventing a myth and claiming the ritual commemorates the events described in that myth. Frazer argued that humans started out with a belief in magical rituals; later, they began to lose faith in magic and invented myths about gods, reinterpreting their rituals as religious rituals intended to appease the gods.
History of the academic discipline
Historically, important approaches to the study of mythology have included those of Vico, Schelling, Schiller, Jung, Freud, Lévy-Bruhl, Lévi-Strauss, Frye, the Soviet school, and the Myth and Ritual School.
The critical interpretation of myth began with the Presocratics. Euhemerus was one of the most important pre-modern mythologists. He interpreted myths as accounts of actual historical events, though distorted over many retellings.
Sallustius divided myths into five categories:
- physical (or concerning natural law);
- animistic (or concerning soul);
- material; and
- mixed, which concerns myths that show the interaction between two or more of the previous categories and are particularly used in initiations.
Plato famously condemned poetic myth when discussing education in the Republic. His critique was primarily on the grounds that the uneducated might take the stories of gods and heroes literally. Nevertheless, he constantly referred to myths throughout his writings. As Platonism developed in the phases commonly called Middle Platonism and neoplatonism, writers such as Plutarch, Porphyry, Proclus, Olympiodorus, and Damascius wrote explicitly about the symbolic interpretation of traditional and Orphic myths.
Mythological themes were consciously employed in literature, beginning with Homer. The resulting work may expressly refer to a mythological background without itself becoming part of a body of myths (Cupid and Psyche). Medieval romance in particular plays with this process of turning myth into literature. Euhemerism, as stated earlier, refers to the rationalization of myths, putting themes formerly imbued with mythological qualities into pragmatic contexts. An example of this would be following a cultural or religious paradigm shift (notably the re-interpretation of pagan mythology following Christianization).
Interest in polytheistic mythology revived during the Renaissance, with early works of mythography appearing in the sixteenth century, among them the Theologia Mythologica (1532).
The first modern, Western scholarly theories of myth appeared during the second half of the 19th century—at the same time as the word myth was adopted as a scholarly term in European languages. They were driven partly by a new interest in Europe's ancient past and vernacular culture, associated with Romantic Nationalism and epitomised by the research of Jacob Grimm (1785–1863). This movement drew European scholars' attention not only to Classical myths, but also material now associated with Norse mythology, Finnish mythology, and so forth. Western theories were also partly driven by Europeans' efforts to comprehend and control the cultures, stories and religions they were encountering through colonialism. These encounters included both extremely old texts such as the Sanskrit Rigveda and the Sumerian Epic of Gilgamesh, and current oral narratives such as mythologies of the indigenous peoples of the Americas or stories told in traditional African religions.
The intellectual context for nineteenth-century scholars was profoundly shaped by emerging ideas about evolution. These ideas included the recognition that many Eurasian languages—and therefore, conceivably, stories—were all descended from a lost common ancestor (the Indo-European language) which could rationally be reconstructed through the comparison of its descendant languages. They also included the idea that cultures might evolve in ways comparable to species. In general, 19th-century theories framed myth as a failed or obsolete mode of thought, often by interpreting myth as the primitive counterpart of modern science within a unilineal framework that imagined that human cultures are travelling, at different speeds, along a linear path of cultural development.
One of the dominant mythological theories of the latter 19th century was nature mythology, the foremost exponents of which included Max Müller and Edward Burnett Tylor. This theory posited that "primitive man" was primarily concerned with the natural world. It tended to interpret myths that seemed distasteful to European Victorians—such as tales about sex, incest, or cannibalism—as being metaphors for natural phenomena like agricultural fertility. Unable to conceive impersonal natural laws, early humans tried to explain natural phenomena by attributing souls to inanimate objects, thus giving rise to animism.
According to Tylor, human thought evolved through stages, starting with mythological ideas and gradually progressing to scientific ideas. Müller also saw myth as originating from language, even calling myth a "disease of language." He speculated that myths arose due to the lack of abstract nouns and neuter gender in ancient languages. Anthropomorphic figures of speech, necessary in such languages, were eventually taken literally, leading to the idea that natural phenomena were in actuality conscious beings or gods. Not all scholars, not even all 19th-century scholars, accepted this view, however: Lucien Lévy-Bruhl claimed that "the primitive mentality is a condition of the human mind and not a stage in its historical development." Recent scholarship, noting the fundamental lack of evidence for "nature mythology" interpretations among people who actually circulated myths, has likewise abandoned the key ideas of "nature mythology."
Myth and ritual
James George Frazer saw myths as a misinterpretation of magical rituals, which were themselves based on a mistaken idea of natural law. this idea was central to the "myth and ritual" school of thought. According to Frazer, humans begin with an unfounded belief in impersonal magical laws. When they realize applications of these laws do not work, they give up their belief in natural law in favor of a belief in personal gods controlling nature, thus giving rise to religious myths. Meanwhile, humans continue practicing formerly magical rituals through force of habit, reinterpreting them as reenactments of mythical events. Finally, humans come to realize nature follows natural laws, and they discover their true nature through science. Here again, science makes myth obsolete as humans progress "from magic through religion to science." Segal asserted that by pitting mythical thought against modern scientific thought, such theories imply modern humans must abandon myth.
The earlier 20th century saw major work developing psychoanalytical approaches to interpreting myth, led by Sigmund Freud, who, drawing inspiration from Classical myth, began developing the concept of the Oedipus complex in his 1899 The Interpretation of Dreams. Jung likewise tried to understand the psychology behind world myths. Jung asserted that all humans share certain innate unconscious psychological forces, which he called archetypes. He believed similarities between the myths of different cultures reveals the existence of these universal archetypes.
The mid-20th century saw the influential development of a structuralist theory of mythology, led by Lévi-Strauss. Strauss argued that myths reflect patterns in the mind and interpreted those patterns more as fixed mental structures, specifically pairs of opposites (good/evil, compassionate/callous), rather than unconscious feelings or urges. Meanwhile, Bronislaw Malinowski developed analyses of myths focusing on their social functions in the real world. He is associated with the idea that myths such as origin stories might provide a "mythic charter"—a legitimisation—for cultural norms and social institutions. Thus, following the Structuralist Era (c. 1960s–1980s), the predominant anthropological and sociological approaches to myth increasingly treated myth as a form of narrative that can be studied, interpreted, and analyzed like ideology, history, and culture. In other words, myth is a form of understanding and telling stories that are connected to power, political structures, and political and economic interests.
These approaches contrast with approaches, such as those of Joseph Campbell and Eliade, which hold that myth has some type of essential connection to ultimate sacred meanings that transcend cultural specifics. In particular, myth was studied in relation to history from diverse social sciences. Most of these studies share the assumption that history and myth are not distinct in the sense that history is factual, real, accurate, and truth, while myth is the opposite.
In the 1950s, Barthes published a series of essays examining modern myths and the process of their creation in his book Mythologies, which stood as an early work in the emerging post-structuralist approach to mythology, which recognised myths' existence in the modern world and in popular culture.
The 20th century saw rapid secularisation in Western culture. This made Western scholars more willing to analyse narratives in the Abrahamic religions as myths; theologians such as Rudolf Bultmann argued that a modern Christianity needed to demythologize; and other religious scholars embraced the idea that the mythical status of Abrahamic narratives was a legitimate feature of their importance. This, in his appendix to Myths, Dreams and Mysteries, and in The Myth of the Eternal Return, Eliade attributed modern humans’ anxieties to their rejection of myths and the sense of the sacred.
The Christian theologian Conrad Hyers wrote:
[M]yth today has come to have negative connotations which are the complete opposite of its meaning in a religious context... In a religious context, however, myths are storied vehicles of supreme truth, the most basic and important truths of all. By them, people regulate and interpret their lives and find worth and purpose in their existence. Myths put one in touch with sacred realities, the fundamental sources of being, power, and truth. They are seen not only as being the opposite of error but also as being clearly distinguishable from stories told for entertainment and from the workaday, domestic, practical language of a people. They provide answers to the mysteries of being and becoming, mysteries which, as mysteries, are hidden, yet mysteries which are revealed through story and ritual. Myths deal not only with truth but with ultimate truth.
Both in 19th-century research, which tended to see existing records of stories and folklore as imperfect fragments of partially lost myths, and in 20th-century structuralist work, which sought to identify underlying patterns and structures in often diverse versions of a given myth, there had been a tendency to synthesise sources to attempt to reconstruct what scholars supposed to be more perfect or underlying forms of myths. From the late 20th century, however, researchers influenced by postmodernism tended instead to argue that each account of a given myth has its own cultural significance and meaning, and argued that rather than representing degradation from a once more perfect form, myths are inherently plastic and variable. There is, consequently, no such thing as the 'original version' or 'original form' of a myth. One prominent example of this movement was A. K. Ramanujan's essay "Three Hundred Ramayanas".
Correspondingly, scholars challenged the precedence that had once been given to texts as a medium for mythology, arguing that other media, such as the visual arts or even landscape and place-naming, could be as or more important.
Scholars in the field of cultural studies research how myth has worked itself into modern discourses. Mythological discourse can reach greater audiences than ever before via digital media. Various mythic elements appear in television, cinema and video games.
Although myth was traditionally transmitted through the oral tradition on a small scale, the film industry has enabled filmmakers to transmit myths to large audiences via film. In Jungian psychology myths are the expression of a culture or society’s goals, fears, ambitions and dreams.
The basis of modern visual storytelling is rooted in the mythological tradition. Many contemporary films rely on ancient myths to construct narratives. The Walt Disney Company is well-known among cultural study scholars for "reinventing" traditional childhood myths. While many films are not as obvious as Disney fairy tales, the plots of many films are based on the rough structure of myths. Mythological archetypes, such as the cautionary tale regarding the abuse of technology, battles between gods and creation stories, are often the subject of major film productions. These films are often created under the guise of cyberpunk action films, fantasy, dramas and apocalyptic tales.
21st-century films such as Clash of the Titans, Immortals and Thor continue the trend of mining traditional mythology to frame modern plots. Authors use mythology as a basis for their books, such as Rick Riordan, whose Percy Jackson and the Olympians series is situated in a modern-day world where the Greek deities are manifest.
- List of mythologies
- List of mythological objects
- List of mythology books and sources
- Magic and mythology
- Mythopoeia, artificially constructed mythology, mainly for the purpose of storytelling
- Bascom 1965, p. 4,5, Myths are often associated with theology and ritual. Their main characters are not usually human beings, but they often have human attributes; they are animals, deities, or culture heroes, whose actions are set in an earlier world, when the earth was different from what it is today, or in another world such as the sky or underworld....Legends are more often secular than sacred, and their principal characters are human. They tell of migrations, wars and victories, deeds of past heroes, chiefs, and kings, and succession in ruling dynasties..
- Simpson, Jacqueline, and Steve Roud, eds. 2003. "Myths." In A Dictionary of English Folklore. Oxford: Oxford University Press. ISBN 9780191726644.
- Doniger O'Flaherty, Wendy (1975). Hindu Myths. Penguin. p. 19. ISBN 978-0-14-044306-6.
I think it can be well argued as a matter of principle that, just as 'biography is about chaps', so mythology is about gods.
- Baldick, Chris (2015). "Legend". The Oxford Dictionary of Literary Terms (4 ed.). Oxford University Press - Oxford Reference Online.
A story or group of stories handed down through popular oral tradition, usually consisting of an exaggerated or unreliable account of some actually or possibly historical person—often a saint, monarch, or popular hero. Legends are sometimes distinguished from myths in that they concern human beings rather than gods, and sometimes in that they have some sort of historical basis whereas myths do not; but these distinctions are difficult to maintain consistently. The term was originally applied to accounts of saints' lives..
- Winzeler, Robert L. (2008). Anthropology and Religion: What We Know, Think, and Question. Rowman Altamira. p. 120. ISBN 978-0-7591-1046-5.
- Bascom 1965, p. 4-5, Myths are often associated with theology and ritual...Their main characters are not usually human beings, but they often have human attributes; they are animals, deities, or culture heroes, whose actions are set in an earlier world, when the earth was different from what it is today, or in another world such as the sky or underworld. Myths account for the origin of the world, of mankind, of death....
- Bascom 1965, p. 9.
- Eliade 1998, p. 23.
- Pettazzoni 1984, p. 102. sfn error: no target: CITEREFPettazzoni1984 (help)
- Dundes 1984, p. 1.
- Eliade 1998, p. 6.
- "myth | Definition, History, Examples, & Facts". Encyclopedia Britannica. Retrieved 11 January 2021.
- Von Franz, M. L. (2017). The interpretation of fairy tales: Revised edition. London: Shambhala Publications.
- David Leeming (2005). "Preface". The Oxford Companion to World Mythology. Oxford University Press. p. vii, xii. ISBN 978-0-19-515669-0.
- Honko, Lauri (1984). "The Problem of Defining Myth". In Dundes, Alan (ed.). Sacred Narrative: Readings in the Theory of Myth. University of California Press. p. 49. ISBN 9780520051928.
- Dundes 1984, p. 147.
- Doty 2004, pp. 11–12.
- Segal 2015, p. 5.
- Kirk 1984, p. 57. sfn error: no target: CITEREFKirk1984 (help)
- Kirk 1973, p. 74.
- Apollodorus 1976, p. 3.
- "myth". Merriam-Webster's Collegiate Dictionary (10th ed.). Springfield, Massachusetts: Merriam-Webster, Inc. 1993. p. 770.
- Salamon, Hagar; Goldberg, Harvey E. (2012). "Myth-Ritual-Symbol". In Bendix, Regina F.; Hasan-Rokem, Galit (eds.). A Companion to Folklore. Wiley-Blackwell. p. 125. ISBN 9781405194990.
- Bascom 1965, p. 7.
- Bascom 1965, pp. 9, 17.
- Eliade 1998, pp. 10–11.
- Pettazzoni 1984, pp. 99–101. sfn error: no target: CITEREFPettazzoni1984 (help)
- Kirk 1973, pp. 22, 32.
- Kirk 1984, p. 55. sfn error: no target: CITEREFKirk1984 (help)
- Doty 2004, p. 114.
- Bascom 1965, p. 13.
- "romance | literature and performance". Encyclopædia Britannica. Retrieved 6 November 2017.
- "Myth." Lexico. Oxford: Oxford University Press. 2020. Retrieved 21 May 2020. § 2.
- Howells, Richard (1999). The Myth of the Titanic. Macmillan. ISBN 978-0-312-22148-5.
- Eliade, Mircea. 1967. Myths, Dreams and Mysteries. pp. 23, 162.
- Winzeler, Robert L. 2012. Anthropology and Religion: What We Know, Think, and Question. Rowman & Littlefield. pp. 105–06.
- Browning, W. R. F. (2010). "Myth". A Dictionary of the Bible (2 ed.). Oxford University Press - Oxford Reference Online.
In modern parlance, a myth is a legend or fairy‐story unbelievable and untrue but nevertheless disseminated. It has a more technical meaning in biblical studies and covers those stories or narratives which describe the actions of the other‐worldly in terms of this world, in both OT and NT. In Genesis the Creation and the Fall are myths, and are markedly similar to the creation stories of Israel's Near Eastern neighbours.
- Kirk 1973, p. 8.
- Grassie, William (March 1998). "Science as Epic? Can the modern evolutionary cosmology be a mythic story for our time?". Science & Spirit. 9 (1).
The word 'myth' is popularly understood to mean idle fancy, fiction, or falsehood; but there is another meaning of the word in academic discourse... Using the original Greek term mythos is perhaps a better way to distinguish this more positive and all-encompassing definition of the word.
- "Mythography." Lexico. Oxford: Oxford University Press. 2020. Retrieved 31 May 2020.
- Chance, Jane. 1994–2000. Medieval Mythography, 2 vols. Gainesville.
- Horton, Katie (3 August 2015). "Dr. Snodgrass editor of new blog series: Bioculturalism". Colorado State University. Retrieved 28 October 2020.
- Snodgrass, Jeffrey G. (2004). "Hail to the Chief?: The Politics and Poetics of a Rajasthani 'Child Sacrifice'". Culture and Religion. 5 (1): 71–104. doi:10.1080/0143830042000200364. ISSN 1475-5629. OCLC 54683133.
- "mythos, n." 2003. In Oxford English Dictionary (3rd ed.). Oxford: Oxford University Press.
- "Mythopoeia." Lexico. Oxford: Oxford University Press. 31 May 2020.
- See also: Mythopoeia (poem); cf. Tolkien, J. R. R.  2001. Tree and Leaf; Mythopoeia; The Homecoming of Beorhtnoth Beorhthelm's Son. London: HarperCollins. ISBN 978-0-00-710504-5.
- "myth | Definition, History, Examples, & Facts". Encyclopedia Britannica. Retrieved 11 January 2021.
- "-logy, comb. form." In Oxford English Dictionary (1st ed.). Oxford: Oxford University Press. 1903.
- Fulgentius, Fabius Planciades (1971). Fulgentius the Mythographer. Ohio State University Press. ISBN 978-0-8142-0162-6.
- "mythology, n.." Oxford English Dictionary (3rd ed.). Oxford: Oxford University Press. 2003. Accessed 20 Aug 2014.
- Lydgate, John. Troyyes Book, Vol. II, ll. 2487. (in Middle English) Reprinted in Henry Bergen's Lydgate's Troy Book, Vol. I, p. 216. Kegan Paul, Trench, Trübner, & Co. (London), 1906. Accessed 20 Aug 2014.
- "...I [ Paris ] was ravisched in-to paradys.
"And Þus Þis god [sc. Mercury], diuers of liknes,
"More wonderful Þan I can expresse,
"Schewed hym silf in his appearance,
"Liche as he is discriued in Fulgence,
"In Þe book of his methologies..."
- Harper, Douglas. 2020. "Mythology." Online Etymology Dictionary.
- Browne, Thomas. Pseudodoxia Epidemica: or, Enquiries into Many Received Tenets and Commonly Presumed Truths, Vol. I, Ch. VIII. Edward Dod (London), 1646. Reprinted 1672.
- All which [sc. John Mandevil's support of Ctesias's claims] may still be received in some acceptions of morality, and to a pregnant invention, may afford commendable mythologie; but in a natural and proper exposition, it containeth impossibilities, and things inconsistent with truth.
- Johnson, Samuel. "Mythology" in A Dictionary of the English Language: In which the Words are Deduced from their Originals, and Illustrated in their Different Significations by Examples from the Best Writers to which are Prefixed a History of the Language and an English Grammar, p. 1345. W. Strahan (London), 1755.
- Johnson, Samuel. A Dictionary of the English Language, p. 1345. W. Strahan (London), 1755. Accessed 20 Aug 2014.
- Johnson's Dictionary, for example, has entries for mythology, mythologist, mythologize, mythological, and mythologically 
- Shuckford, Samuel. The Creation and Fall of Man. A Supplemental Discourse to the Preface of the First Volume of the Sacred and Profane History of the World Connected, pp. xx–xxi. J. & R. Tonson & S. Draper (London), 1753. Accessed 20 Aug 2014.
- "That Mythology came in upon this Alteration of their [Egyptians' Theology, is obviouſly evident: for the mingling the Hiſtory of theſe Men when Mortals, with what came to be aſcribed to them when Gods, would naturally occaſion it. And of this Sort we generally find the Mythoi told of them..."
- Coleridge, Samuel Taylor. "On the Prometheus of Æschylus: An Essay, preparatory to a series of disquisitions respecting the Egyptian, in connection with the sacerdotal, theology, and in contrast with the mysteries of ancient Greece." Royal Society of Literature (London), 18 May 1825. Reprinted in Coleridge, Henry Nelson (1836). The Literary Remains of Samuel Taylor Coleridge: Shakespeare, with an introductory matter on poetry, the drama, and the stage. Notes on Ben Jonson; Beaumont and Fletcher; On the Prometheus of Æschylus [and others. W. Pickering. pp. 335–.
- "Long before the entire separation of metaphysics from poetry, that is, while yet poesy, in all its several species of verse, music, statuary, &c. continued mythic;—while yet poetry remained the union of the sensuous and the philosophic mind;—the efficient presence of the latter in the synthesis of the two, had manifested itself in the sublime mythus περὶ γενέσεως τοῦ νοῦ ἐν ἀνθρωποῖς concerning the genesis, or the birth of the νοῦς or reason in man."
- Abraham of Hekel (1651). "Historia Arabum(History of the Arabs)". Chronicon orientale, nunc primum Latinitate donatum ab Abrahamo Ecchellensi Syro Maronita e Libano, linguarum Syriacae, ... cui accessit eiusdem Supplementum historiae orientalis (The Oriental Chronicles. e Typographia regia. pp. 175–. (in Latin) Translated in paraphrase in Blackwell, Thomas (1748). "Letter Seventeenth". Letters Concerning Mythology. printed in the year. pp. 269–.
- Anonymous review of Upham, Edward (1829). The History and Doctrine of Budhism: Popularly Illustrated: with Notices of the Kappooism, Or Demon Worship, and of the Bali, Or Planetary Incantations, of Ceylon. R. Ackermann. In the Westminster Review, No. XXIII, Art. III, p. 44. Rob't Heward (London), 1829. Accessed 20 Aug 2014.
- "According to the rabbi Moses Ben Maimon, Enos, discoursing on the splendor of the heavenly bodies, insisted that, since God had thus exalted them above the other parts of creation, it was but reasonable that we should praise, extol, and honour them. The consequence of this exhortation, says the rabbi, was the building of temples to the stars, and the establishment of idolatry throughout the world. By the Arabian divines, however, the imputation is laid upon the patriarch Abraham; who, they say, on coming out from the dark cave in which he had been brought up, was so astonished at the sight of the stars, that he worshipped Hesperus, the Moon, and the Sun successively as they rose. These two stories are good illustrations of the origin of myths, by means of which, even the most natural sentiment is traced to its cause in the circumstances of fabulous history.
- Anderson (2004), p. 61
- Wiles (2000), pp. 5–6
- Wiles (2000), p. 12
- Lincoln (1999), pp. 3–5
- Littleton 1973, p. 32.
- Eliade 1998, p. 8.
- Honko 1984, p. 51.
- Eliade 1998, p. 19.
- Barthes 1972. sfn error: multiple targets (2×): CITEREFBarthes1972 (help)
- Sinha, Namya (4 July 2016). "No society can exist without myth, says Devdutt Pattanaik". Hindustan Times. Retrieved 13 April 2020.
- Shaikh, Jamal (8 July 2018). "Interview: Devdutt Pattanaik" Facts are everybody's truth. Fiction is nobody's truth. Myths are somebody's truth"". Hindustan Times. Retrieved 13 April 2020.
- Bulfinch 2004, p. 194.
- Honko 1984, p. 45.
- "Euhemerism." The Concise Oxford Dictionary of World Religions.
- Segal 2015, p. 20.
- Bulfinch 2004, p. 195.
- Frankfort et al. 2013, p. 4.
- Frankfort et al. 2013, p. 15.
- Segal 2015, p. 61.
- Graf 1996, p. 40.
- Meletinsky 2014, pp. 19–20.
- Segal 2015, p. 63.
- Frazer 1913, p. 711.
- Guy Lanoue, Foreword to Meletinsky, p. viii.
- Segal 2015, p. 1.
- "On the Gods and the World." ch. 5; See: Collected Writings on the Gods and the World. Frome: The Prometheus Trust. 1995.
- Perhaps the most extended passage of philosophic interpretation of myth is to be found in the fifth and sixth essays of Proclus’ Commentary on the Republic (to be found in The Works of Plato I, trans. Thomas Taylor, The Prometheus Trust, Frome, 1996); Porphyry's analysis of the Homeric Cave of the Nymphs is another important work in this area (Select Works of Porphyry, Thomas Taylor The Prometheus Trust, Frome, 1994). See the external links below for a full English translation.
- "The Myth of Io". The Walters Art Museum. Archived from the original on 16 May 2013. Retrieved 18 December 2015.
- For more information on this panel, please see Zeri catalogue number 64, pp. 100–101
- Shippey, Tom. 2005. "A Revolution Reconsidered: Mythography and Mythology in the Nineteenth Century." Pp. 1–28 in The Shadow-Walkers: Jacob Grimm’s Mythology of the Monstrous, edited by T. Shippey. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies. pp. 4–13.
- Segal 2015, pp. 3–4.
- McKinnell, John. 2005. Meeting the Other in Norse Myth and Legend. Cambridge: Brewer. pp. 14-15.
- Segal 2015, p. 4.
- Mâche, Francois-Bernard (1992). Music, Myth and Nature, or The Dolphins of Arion. p. 8. ISBN 978-3-7186-5321-8.
- Dorson, Richard M. 1955. "The Eclipse of Solar Mythology." Pp. 25–63 in Myth: A Symposium, edited by T. A. Sebeok. Bloomington: Indiana University Press.
- Segal 2015, pp. 67–68.
- Segal 2015, p. 3.
- Segal 2015, p. 113.
- Birenbaum, Harvey. 1988. Myth and Mind. Lanham, MD: University Press of America. pp. 152–53.
- Barthes, Roland (1972). Mythologies. Hill and Wang. ISBN 978-0-09-997220-4.
- Bultmann, Rudolf. 1958. Jesus Christ and Mythology. New York: Scribner.
- Hyers 1984, p. 107.
- For example: McKinnell, John. 1994. Both One and Many: Essays on Change and Variety in Late Norse Heathenism, (Philologia: saggi, ricerche, edizioni 1, edited by T. Pàroli). Rome.
- Ramanujan, A. K. 1991. "Three Hundred Rāmāyaṇas: Five Examples and Three Thoughts on Translation." Pp. 22–48 in Many Rāmāyaṇas: The Diversity of a Narrative Tradition in South Asia, edited by P. Richman. Berkeley: University of California Press. ark:13030/ft3j49n8h7/
- Ramanujan, A. K.  2004. "Three Hundred Rāmāyaṇas." Pp. 131–60 in The Collected Essays of A. K. Ramanujan. Oxford: Oxford University Press. ISBN 978-0-19-566896-4.
- For example: Dowden, Ken. 1992. The Uses of Greek Mythology. London: Routledge.
- Ostenson, Jonathan (2013). "Exploring the Boundaries of Narrative: Video Games in the English Classroom" (PDF). www2.ncte.org/.
- Singer, Irving (2008). Cinematic Mythmaking: Philosophy in Film. MIT Press. pp. 3–6.
- Indick, William (2004). "Classical Heroes in Modern Movies: Mythological Patterns of the Superhero". Journal of Media Psychology.
- Koven, Michael (2003). Folklore Studies and Popular Film and Television: A Necessary Critical Survey. University of Illinois Press. pp. 176–195.
- Corner 1999, pp. 47–59.
- Mead, Rebecca (22 October 2014). "The Percy Jackson Problem". The New Yorker. ISSN 0028-792X. Retrieved 6 November 2017.
- Anderson, Albert A. (2004), "Mythos, Logos, and Telos: How to Regain the Love of Wisdom", in Anderson, Albert A.; Hicks, Steven V.; Witkowski, Lech (eds.), Mythos and Logos: How to Regain the Love of Wisdom, Rodopi, ISBN 978-90-420-1020-8
- Apollodorus (1976). "Introduction". Gods and Heroes of the Greeks: The Library of Apollodorus. Translated by Simpson, Michael. Amherst: University of Massachusetts Press. ISBN 978-0-87023-206-0.
- Armstrong, Karen (2010). A Short History of Myth (Myths series). Knopf Canada. ISBN 978-0-307-36729-7.
- Barthes, Roland (1972). Mythologies. Hill and Wang. ISBN 978-0-8090-7193-7.
- Bascom, William Russell (1965). The Forms of Folklore: Prose Narratives. University of California.
- Bowker, John (2005). "Euhemerism". The Concise Oxford Dictionary of World Religions. Oxford University Press. ISBN 978-0-19-861053-3.
- Bulfinch, Thomas (2004). Bulfinch's Mythology. Kessinger Publishing. ISBN 978-1-4191-1109-9.
- Corner, John (1999). Critical Ideas in Television Studies. Clarendon Press. ISBN 978-0-19-874221-0.
- Doniger, Wendy (2004). Hindu Myths: A Sourcebook Translated from the Sanskrit. Penguin Books Limited. ISBN 978-0-14-190375-0.
- Doty, William G. (2004). Myth: A Handbook. Greenwood Publishing Group. ISBN 978-0-313-32696-7.
- Downing, Christine (1996). The Goddess: Mythological Images of the Feminine. Continuum.
- Dundes, Alan (1996). "Madness in Method Plus a Plea for Projective Inversion in Myth". In L. L. Patton and W. Doniger (ed.). Myth and Method. University of Virginia Press. pp. 147–. ISBN 978-0-8139-1657-6.
- — (1997). "Binary Opposition in Myth: The Propp/Levi-Strauss Debate in Retrospect." Western Folklore 56(Winter):39–50.
- —, ed. (1984). Sacred Narrative: Readings in the Theory of Myth. University of California Press. ISBN 978-0-520-05192-8.
- Honko, Lauri. "The Problem of Defining Myth."
- Kirk, G. S. "On Defining Myths." Pp. 53–61.
- Pettazzoni, Raffaele. "The Truth of Myth."
- Lincoln, Bruce (1999), "The Prehistory of Mythos and Logos", Theorizing Myth: Narrative, Ideology, and Scholarship, University of Chicago Press, ISBN 978-0-226-48202-6
- Eliade, Mircea (1960). Myths, dreams, and mysteries: the encounter between contemporary faiths and archaic realities. Translated by Mairet, Philip. Harvill Press. ISBN 978-0-06-131320-2.
- — (1998). Myth and Reality. Waveland Press. ISBN 978-1-4786-0861-5.
- Fabiani, Paolo "The Philosophy of the Imagination in Vico and Malebranche". F.U.P. (Florence UP), English edition 2009. PDF
- Frankfort, Henri; Frankfort, H.A.; Wilson, John A.; Jacobsen, Thorkild; Irwin, William A. (2013). The Intellectual Adventure of Ancient Man: An Essay of Speculative Thought in the Ancient Near East. University of Chicago Press. ISBN 978-0-226-11256-5.
- Frazer, Sir James George (1913). The Golden Bough: A Study in Magic and Religion. Macmillan and Company, limited. pp. 10–.
- Graf, Fritz (1996). Greek Mythology: An Introduction. Translated by Marier, Thomas. Johns Hopkins University Press. ISBN 978-0-8018-5395-1.
- Humphrey, Sheryl (2012). The Haunted Garden: Death and Transfiguration in the Folklore of Plants. New York: DCA Art Fund Grant from the Council on the Arts and Humanities for Staten Island and public funding from the New York City Department of Cultural Affairs. ISBN 978-1-300-55364-9.
- Hyers, Conradl (1984). The Meaning of Creation: Genesis and Modern Science. Westminster John Knox Press. ISBN 978-0-8042-0125-4.
- Indick, William (2004). "Classical Heroes in Modern Movies: Mythological Patterns of the Superhero". Journal of Media Psychology. 9 (3): 93–95.
- Kirk, Geoffrey Stephen (1973). Myth: Its Meaning and Functions in Ancient and Other Cultures. University of California Press. ISBN 978-0-520-02389-5.
- Koven, Mikel J. (22 May 2003). "Folklore Studies and Popular Film and Television: A Necessary Critical Survey". Journal of American Folklore. 116 (460): 176–195. doi:10.1353/jaf.2003.0027. ISSN 1535-1882. S2CID 163091590.
- Leonard, Scott (August 2007). "The History of Mythology: Part I". Youngstown State University. Retrieved 17 November 2009.
- Littleton, C. Scott (1973). The New Comparative Mythology: An Anthropological Assessment of the Theories of Georges Dumézil. University of California Press. pp. 1–. ISBN 978-0-520-02404-5.
- Matira, Lopamundra (2008). "Children's Oral Literature and Modern Mass Media". Indian Folklore Research Journal. 5 (8): 55–57.
- Meletinsky, Eleazar M. (2014). The Poetics of Myth. Taylor & Francis. ISBN 978-1-135-59913-3.
- Olson, Eric L. (May 3, 2011). "Great Expectations: the Role of Myth in 1980s Films with Child Heroes". Virginia Polytechnic Scholarly Library. Virginia Polytechnic Institute And State University. hdl:10919/32929. Archived (PDF) from the original on January 19, 2012. Retrieved September 26, 2020.
- "Myth". Encyclopædia Britannica. 2009. 21 March 2009.
- Simpson, Jacqueline, and Steve Roud, eds. 2003. "Myths." In A Dictionary of English Folklore. Oxford: Oxford University Press. ISBN 9780191726644.
- "Basque Mythology." Public Reading Network of the Basque Country. 2018.
- Northup, Lesley (2006). "Myth-Placed Priorities: Religion and the Study of Myth." Religious Studies Review 32(1):5–10. doi:10.1111/j.1748-0922.2006.00018.x. ISSN 1748-0922.
- Segal, Robert (2015). Myth: A Very Short Introduction. OUP Oxford. pp. 19–. ISBN 978-0-19-103769-6.
- Singer, Irving (2010). Cinematic Mythmaking: Philosophy in Film. MIT Press. pp. 1–. ISBN 978-0-262-26484-6.
- Slattery, Dennis Patrick (2015). Bridge Work: Essays on Mythology, Literature and Psychology. Carpinteria: Mandorla Books.
- Wiles, David (2000), "Myth", Greek Theatre Performance: An Introduction, Cambridge University Press, ISBN 978-0-521-64857-8
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