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The only complete world mythology textbook available, Introduction to Mythology: Contemporary Approaches to Classical and World Myths, Second Edition, integrates original texts with explanations, interpretations, theory, and numerous pedagogical aids to introduce students to a wide range of myths from various critical perspectives. Featuring texts from sources around the world, it includes readings from Greek and Roman classics (by Homer, Hesiod, Ovid, and other writers); Nordic mythology (by Snorri Sturluson); Hindu culture (The Ramayana); Chinese mythology (N� Kwa; new to this edition) and from such ancient works as The Epic of Gilgamesh, the Bible, and the Mesopotamian story of Enuma Elish (new to this edition). Selections from Native-American sources and folktales and stories from Africa, Germany, and the United States are also included. In addition, authors Eva Thury and Margaret Devinney draw comparisons between classical myths and such contemporary cultural phenomena as The X Files, Star Trek, Mother Goose, and, new to this edition, Harry Potter, Stagecoach, and Firefly. They also incorporate readings by Carl Jung, Claude Levi-Strauss, Victor Turner, and other scholars who consider mythic material from different analytical perspectives. Finally, traditional works by writers like John Milton and John Keats as well as those by contemporary authors like Anne Sexton, John Updike, Angela Carter, and James Joyce are presented as examples of literary texts with mythological roots.
Introduction to Mythology uses an innovative pedagogical structure to help students unravel the complex web of literary allusions often found in mythological texts:
Extensive marginal notes provide cross-references and explanations of terms and culture-specific concepts
A glossary of deities and suggested readings for each chapter offer students additional resources
An improved and refined art program features more than 200 illustrations, photographs, and maps
An illustrated timeline places the readings in relation to each other and to historical and cultural events and artifacts
A Student's Website contains chapter objectives and summaries, key terms, study questions, self-tests, and off-site links of interest
An Instructor's Manual includes key terms, pedagogical suggestions, study questions and projects, and sample objective test questions for each chapter
- Sales Rank: #359707 in Books
- Published on: 2009-01-21
- Original language: English
- Number of items: 1
- Dimensions: 7.90" h x 1.10" w x 9.90" l, 3.05 pounds
- Binding: Paperback
- 736 pages
About the Author
Eva M. Thury is at Drexel University. Margaret K. Devinney is at Temple University.
Most helpful customer reviews
14 of 15 people found the following review helpful.
Disappointing
By Carol
The myths (fascinating) are clearly presented, with bold-face type stressing important points, but the reading is interrupted by commentaries in the margins. The introductory remarks are often written in such convoluted style that they are more confusing than illuminating. Tiny, unclear photos of related artworks are next to worthless.
8 of 8 people found the following review helpful.
A Textbook that doesn't feel like one.
By Amazon Customer
This text is interesting in that it reads more like an anthology than a textbook. It is mostly composed of selections from the sourcetexts of the various myths, and when the authors do write their own material about the selections and such, their chapters feel more like news articles. This causes reading the book to feel more like reading a book for enjoyment than for being taught. I think this is a very positive thing, since the book feels less pedagogue-ish and yet is still quite informative. The only thing I see missing is family trees of the divine lineages, which would be most useful for studying Norse mythology, to use the most prominent example.
I also found it unfortunate that the sections on Norse Myth use Sturluson's Prose Edda for the source text rather than the Poetic Edda, the more legitimate source. Apparently they did this to show how mythic texts rationalize their contents. In Sturluson's case, he decided to claim that the ancient Icelandic people simply forgot the Christian faith over time, even though the Germanic religion was practiced all over northern Europe for centuries before Christianity ever existed. Gotta love that medieval scholarship.
5 of 6 people found the following review helpful.
Average text selection; problematic interpretation and editing
By D. Layman
I am using this text in a "World Mythology" course; it was assigned to me.
The texts are adequate, but not outstanding. The following is a partial list of major texts, specifically the ones I have chosen to focus on:
Hesiod
Ovid
Enuma Elish
Epic of Gilgamesh
Genesis
Prose Edda
texts from southwestern Amerind tribes
Africa (specifically the "Mwindo epic") and Afro-American trickster stories
Ramayana
a few texts from Homeric Hymns and Apollodorus
a reading from *Gods and Myths of Northern Europe*.
Major topics include: creation, destruction; gods, heroes, and tricksters, and ritual.
Other texts--ones I will not be using--include a Chinese creation story, and "Oedipus the King." Nor will I be using extensive material on Joseph Campbell, structuralism, Mary Douglas on ritual, and Jungian and Proppian interpretations. Campbell is especially problematic because most scholarly specialists in myth studies reject his approach. In fact, I have a lecture on "why we will not be studying Campbell." (In short, he assumes what he needs to prove: that there is a universal hero myth. To make his theory work is to "pound square blocks into round holes." The editors' attempt to interpret the Epic of Gilgamesh as an example of the "mono myth" is especially silly, and is good evidence why the approach doesn't work.) I'm not using the other secondary material since we barely have time to interact the primary and important texts, as it is.
I understand the choice for the Prose Edda over the Poetic Edda, and the editors correctly emphasize the fact that Snorri is a Christian, looking at the Norse stories as a dead tradition. But they don't give the student any sense for the tradition that Snorri is reinterpreting. It would have been simple to include the V�lupsa, for example, and allow the student to *see* the process of reinterpretation.
The text used in the Epic of Gilgamesh is old, an amalgam of different *versions*--Standard, Old Babylonian, and Hittite. There is no explanation of the textual-critical problems of this approach. There are newer, "rawer" texts available. As noted, this amalgam permits the editors to try to shoehorn the Epic to fit Campbell's mono myth, even if there it doesn't work anyway.
Finally, The editors might be fine scholars of literature, but they simply don't understand mythic and religious texts. One egregious example: In the Ramayana, the second wife wants the kingship for her own son, instead of Rama. Her maid reminds her that the king has promised her two "boons," and decides to "call in the chips" by demanding that the king give the kingship to her son and exile Rama. To get it, she goes into a "chamber of wrath." The editors say that this chamber is for mourning loved ones, and that for her son *not* to get the kingship would be for him to die (p. 211).
That didn't sound right. Ancient peoples don't respond to death with "wrath," but with "mourning." They are two very different emotions. It took about an hour of internet research, using literal translations of the Ramayana, to verify my suspicion. The room is not a room for mourning, but, in one translation, a "sulking room". It is a room in the women's quarters, when they are mad about something and want to sulk. The king wants to have sex with her, finds her in this room, and driven by his lust, helplessly gives in to her demands. It gives a very different "spin" on the story. Furthermore, the threatened death is not the death of the son, but the death of wife, if she doesn't get what she wants.
Another much simpler example: neither Aphrodite nor Ishtar are the goddess of love. They are goddesses of *lust,* sexual passion. (In the Epic of Gilgamesh, Ishtar is explicitly linked to war.)
Another scholarly problem is the editors' simplistic use of the documentary hypothesis in interpreting Genesis. That's "old hat"; there are much better contemporary approaches.
So okay for texts, but be prepared to do a lot of research and extra reading to get the full meaning and nuances of some of the texts: especially the Epic of Gilgamesh, the Prose Edda (and the Norse tradition in general), and the Ramayana.
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