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| DC Field | Value | Language |
|---|---|---|
| dc.contributor.author | Xydakis, Ioannis | - |
| dc.contributor.author | Nikita, Katerina | - |
| dc.date.accessioned | 2022-04-20T16:25:14Z | - |
| dc.date.accessioned | 2022-04-20T16:37:08Z | - |
| dc.date.accessioned | 2022-04-20T16:44:38Z | - |
| dc.date.accessioned | 2022-09-06T12:11:26Z | - |
| dc.date.available | 2022-04-20T16:25:14Z | - |
| dc.date.available | 2022-04-20T16:37:08Z | - |
| dc.date.available | 2022-04-20T16:44:38Z | - |
| dc.date.available | 2022-09-06T12:11:26Z | - |
| dc.date.issued | 2020 | - |
| dc.identifier.uri | http://repository.include-erasmus.eu/jspui/handle/7112/32 | - |
| dc.language | en | en_US |
| dc.subject | Religious Education | en_US |
| dc.title | Europe through modern myths | en_US |
| dc.type | educational scenario - lesson plan | en_US |
| dc.keyword | Traditional mythology, Neomythology, the hero's adventure, popular culture, Western culture. | en_US |
| dc.age | 15 | en_US |
| dc.school | 1o peiramatiko gymnasio Athinas | en_US |
| dc.module | Diffused New Religiosity: Modern Mythology | en_US |
| dc.englishLevel | B2 | en_US |
| dc.duration | 3 | en_US |
| dc.keycompetences | Detailed Competences::1. Literacy Competence | en_US |
| dc.keycompetences | Detailed Competences::4. Digital Competence | en_US |
| dc.keycompetences | Detailed Competences::8. Cultural awareness and expression Competence | en_US |
| dc.keycompetences | Detailed Competences::5. Personal, social and learning to learn Competence | en_US |
| dc.learningOutcome | 1. Awareness of the myth as a product of the human spirit and as a diachronic combination of fantasy and reality, that is to say, of irrational and rational elements. In this sense, in modern entertainment and amusement products, such as video games and the cinema, it is possible to see the dominance of the mythical element. The plots employed in these products are of a mythical character. Precisely because this re-emergence of myth is such a pronounced phenomenon nowadays, it has been termed ‘neomythology’. 2. Therefore, understanding of the ‘neomythology’ as the modern tendency for symbols and the religious and mythical figures of world history to be removed from their natural context or religion and to be reinterpreted, thus ‘constructing’ a new myth. 3. Knowledge of the basic distinctive features of modern mythology. 4. Knowledge of how modern entertainment and amusement products, among them several European comics and video games set in Europe, reuse and reinterpret traditional mythical schemata, even from the sphere of European mythology. 5. Understanding how in modern literary works, video games and cinema products, the traditional mythical and religious vocabulary is repositioned in another framework and mutated in terms of its content into a secular one. In this sense, the supernatural being and superheroes can always be justified as being possible, credible and immediately interpretable. 6. Knowledge of the identity of modern Western man as a being that may still seek and strive after myth and also reinforce it. | en_US |
| dc.transversalSkill | Creativity and Innovation | en_US |
| dc.europeanity | In the 19th century, under the influence of the Enlightenment, myth was viewed as the opposite of reason and reality. Enlightenment thinkers tended either to dismiss myth as an irrational element that was incompatible with science or to associate it with childish expression or the infancy of civilisation. In the late 19th century, Tylor, in his theory on cultural survivals, regarded myth as a part of culture that belonged exclusively to the past, or that had survived from the cultural past of animistic religion, the era of occult science, divination and astrology. Mythical narratives as a whole belonged to the distant era of, as he put it, ‘primitive biology’, ‘primitive psychology’ and ‘childlike science’. In the 20th century, the anthropologist Claude Levi-Strauss, though he restricted myth to the past, he presented it, just like Tylor, as a body of stories that played an important role in the lives of primitive communities. The members of those societies used myths to define certain rules of action and constructed a homogeneous system that attempted to establish their racial origins, the existence of their ritual practices and their system of social organisation all at the same time. In the second half of the 20th century, Mircea Eliade presented myth as a sacred history, the history of archaic men in relation to the Supernatural Beings and the way in which the latter created and presented the world, time and history. Myth becomes the language used by archaic society to bring the sacredness of its gods into the present and into its own reality, that is, profane space and time. Eliade agreed with Tylor that for ancient civilisations myth revealed not only a moral history but a real event. This event was not merely a past event like many others; on the contrary, as a sacred event it was a paradigm for everyday life. The remarkable and special thing about Eliade, however, is that he does not view myth only in terms of the past or any ideal content it may have, but he also connects it strongly with the present. He discovers that not only has myth not been edged out or even, for that matter, eradicated from modern life but is in fact present in its different aspects. The myths of the past, which once expressed hierophanies, that is to say the presence of God in men’s lives, continue to fascinate modern man. In this sense, they have turned into new myths and have thus survived in modern literary products, dreamy and fanciful images, and symbols. For contemporary European mythologists it is clear that myth does not belong exclusively to the past. Contemporary culture is full of mythical representations and mythical symbolisms. To be precise, Laurence Coupe stresses the point that myths are repeated today in various forms of entertainment, such as works of literature and cinema films. As a result of this presence, myth plays an important cultural role. John Izod, on the other hand, has recognised the phenomenon of the reinterpretation and reuse of mythical schemata in the products of the big and small screens. | en_US |
| dc.isced | ISCED2 | en_US |
| Appears in Collections: | Include | |
Files in This Item:
| File | Size | Format | |
|---|---|---|---|
| Script_P1S08Y1 N.pdf | 131.16 kB | Adobe PDF | View/Open |
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