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Related to Myth criticism: mythic criticism


n. pl. my·thog·ra·phies
1. The artistic representation of mythical subjects.
2. A collection of myths, often with critical commentary.


(Literary & Literary Critical Terms) the study of myths or mythology


(mɪˈθɒg rə fi)

n., pl. -phies.
1. a written collection of myths.
2. expression of myths in artistic, esp. plastic, form.
[1850–55; < Greek mȳthographía]
my•thog′ra•pher, n.


1. the collecting of myths.
2. the recording of myths in writing.
3. a critical collection of myths. — mythographer, mythographist, n.
See also: Mythology
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Part 1, "A Partial Canon of Star Trek Myth Criticism," contains six previously published mainstays in Star Trek scholarship.
Thus, although in his 1957 Anatomy of Criticism Frye did employ Jungian terms and archetypal concepts, his approach should more appropriately be termed myth criticism.
As the big systems lose out to such decentralizing guerrilla activity as this, French theory, plus Freud, emerges as the answer to German myth criticism.
Thus, reversing Northrop Frye's definition of literature as "reconstructed myth," Ferrucci views myth as literature's primordial form, in accordance with some of the greatest contemporary scholars of myth criticism (513).
Yet another symptom of the New Critical-historicist imbroglio - and the fact that both were interpretively running low on gas - was the increasing visibility of myth criticism and the appearance of the first textbooks with openly billed structuralist assumptions.
In The Reception of Myth in English Romanticism Anthony John Harding seeks to revive a tradition of myth criticism that fell out of favour sometime around 1970 because its practitioners assumed that some original or archetypal myth could be used as a key to interpreting a literary work, `when all that is available to us is.
This broader alignment, it appears, is not intended to dismiss or diminish the impact of the Black Arts Movement; rather, Karrer contends that the "theoretical shift from Black Aesthetics to the now dominant paradigm of myth criticism did not go along with a similar shift in short story writing.
Following the main direction in myth criticism set by Claude Levi-Strauss, Westbrook sees the myth-maker--and hence, the baseball writer--as bricoleur, assembler of whatever pieces come to hand.
The basic lesson to be learned from such myth criticism is this: never underestimate Faulkner as a thinker.
He also reports that his translations of these volumes appeared only after long delays by his Hungarian publishers, and much of his essay is an attempt to explain this unseemly delay with a discussion of the reception of myth criticism in Hungary.
While not all myth criticism is anthropological, at their intersections it is clear that they share an interest in that which is both abiding and communal in the instincts, gestures, and presentations of the human spirit.