Plato: Myths

In his recently published posthumous works "Prefiguration" and "The Rigorism of Truth" Hans Blumenberg surprisingly steps into the area of political history that he had left widely unconsidered in "Work on Myth". While "Prefiguration" tackles the “demonic” aspects of Napoleon and Hitler that Blumenberg tries to dismantle and bring into derision, in "Rigorism of Truth" he attacks Hannah Arendt's phrase of the Banality of Evil in relation to the Jerusalem trial against Adolf Eichmann in 1961. In this latter issue Blumenberg (...) defends the demonic he sees culminated in the form of Eichmann to assert what he calls the “mythical dimension“ in the Israeli process of nation-building. To him, Eichmann represents a prototypical demon incarnate that must be slaughtered by the heroic character seen in young state Israel. This obviously turns Blumenberg's criticism of Napoleon and Hitler into an affirmation of political myths that, on the face of it, appears to be a contradiction in terms. The essay focuses on this theoretical tension and tries to point out that significance (“Bedeutsamkeit”) is not only a necessity for individual self-assertion (“Selbstbehauptung”) but also a category of communality that must be handled with care. (shrink)

In the ever-evolving landscape of video game development, mythology serves as a rich source of inspiration, providing developers with a wellspring of narratives, characters, and themes that resonate with players. This article, "Gaming the Gods: How Mythology Inspires Game Development," explores the intricate relationship between ancient myths and contemporary gaming. By examining various titles that draw upon mythological elements—from the pantheons of Greek and Norse mythology to the folklore of diverse cultures—we uncover how these stories enhance gameplay, deepen character development, (...) and create immersive worlds. The article also discusses the challenges and responsibilities developers face when adapting these age-old tales, including cultural sensitivity and authenticity. Through case studies of popular games, we illustrate how mythology not only enriches storytelling but also fosters a deeper connection between players and the narratives they engage with. Ultimately, this exploration highlights the enduring power of myth in shaping the future of interactive entertainment, inviting both players and creators to embark on epic journeys through the realms of legend and lore. (shrink)

This article offers a cross-cultural analysis of two enigmatic figures from Indo-European mythologies: Tīrka Šavār, a lesser-known Persian omen of death or misfortune, and the Dullahan, Ireland’s iconic headless horseman. Both entities serve as harbingers of fate, embodying their cultures’ anxieties about mortality, the unknown, and the thin veil between the human and supernatural realms. Through comparative methodology, this study explores how these myths reflect distinct cultural values—Persian narratives often intertwine destiny with moral and cosmic order (aša), while Irish lore (...) emphasizes the inevitability of death and the capriciousness of the Otherworld. The analysis reveals striking parallels: both figures act as liminal beings, mediating between life and death, and their appearances are marked by omens (e.g., the Dullahan’s lantern, Tīrka Šavār’s symbolic manifestations). Yet their differences are equally telling: Tīrka Šavār’s role in Persian cosmology often ties to Zoroastrian dualism, where moral choices influence fate, whereas the Dullahan operates within a Celtic framework of inescapable doom. By situating these myths within their historical and religious contexts, this article illuminates how ancient societies grappled with existential fears and conceptualized the supernatural. (shrink)

In the ever-evolving landscape of video game development, mythology serves as a rich source of inspiration, providing developers with a wellspring of narratives, characters, and themes that resonate with players. This article, "Gaming the Gods: How Mythology Inspires Game Development" explores the intricate relationship between ancient myths and contemporary gaming. We uncover how these stories enhance gameplay, deepen character development, and create immersive worlds by examining various titles that draw upon mythological elements—from the pantheons of Greek and Norse mythology to (...) the folklore of diverse cultures. The article also discusses the challenges and responsibilities developers face when adapting these age-old tales, including cultural sensitivity and authenticity. Through case studies of popular games, we illustrate how mythology enriches storytelling and fosters a deeper connection between players and the narratives, they engage with. Ultimately, this exploration highlights the enduring power of myth in shaping the future of interactive entertainment, inviting both players and creators to embark on epic journeys through the realms of legend and lore. (shrink)

Socrates has an implicit argument for his afterlife story that concludes the Gorgias, with two key premises. One is at 527a–c, where he summarizes the ethical position he has been arguing for through most of the dialogue, regarding the intrinsic goodness of justice, the intrinsic badness of injustice, and the desirability of rehabilitative punishments. The second occurs at 507e–508a, where Socrates asserts that the universe is held together by justice. This argument explains why Socrates regards his story as a logos, (...) not merely a muthos. It also helps us understand the nature of the rewards and punishments in his story. (shrink)

The Gorgias ends with Socrates telling an eschatological myth that he insists is a rational account and no mere tale. Using this story, Socrates reasserts the central lessons of the previous discussion. However, it isn’t clear how this story can persuade any of the characters in the dialogue. Those (such as Socrates) who already believe the underlying philosophical lessons don’t appear to require the myth, and those (such as Callicles) who reject these teachings are unlikely to be moved by this (...) far-fetched tale. This raises the question of who the myth is told for and what function it is meant to serve. This chapter argues that the myth is aimed, not at Callicles, but Socrates and those who aspire to follow him. There are uncertainties about the philosophical life that are due to the nature of embodiment, as well as reasons to doubt the connection between happiness and virtue. The myth assists with the former by presenting an image that draws a philosopher away from the goods of the body toward the goods of the soul. The story assists with the latter by presenting an image of cosmic justice, thereby securing happiness in proportion to virtue. (shrink)

Skepticism and Myth in Remo Cantoni. The author examines three essays by Remo Cantoni (1914-1978), written in the 1940s, which focus on the relationship between skepticism and myth. The author argues that, for Cantoni, skepticism and myth represent two fundamental polarities of thought. The hypothesis that reason might ultimately overcome myth is, according to Cantoni, erroneous. Instead, the author emphasizes that Cantoni considers a phenomenology of myth essential for understanding it as a necessary dimension in the life of the spirit. (...) According to the author, Cantoni is a philosopher who seeks to interpret the crisis of values and science, striving to remain within a rationalistic framework. (shrink)

I claim in this paper that Adeimantus’s challenge to Socrates in Book 2 of the Republic has more importance than scholars have generally recognized. The established tendency in the secondary literature is to treat Adeimantus’s objection as virtually indistinct from Glaucon’s objection. Such readings overlook the significance of Adeimantus’s contribution to the argument of the dialogue, especially the unique emphasis he puts on the role of culture and social institutions in shaping human beliefs and desires. Whereas Glaucon objects to Socrates’ (...) conception of justice based on his views on human nature, Adeimantus introduces an indispensable political dimension to the discussion. I argue that these two objections are mutually implicating and vital to understanding why Socrates initiates an inquiry into politics in the Republic. Together, the objections show how Plato’s wide-ranging examination of issues in ethics, politics, psychology, epistemology, and metaphysics hangs together as an integrated whole. A further benefit of this reevaluation of Adeimantus’s challenge, I suggest, is the way it illuminates Plato’s views on poetry in the dialogue. According to this reading, far from advocating for the exclusion of poetry from civic life, Plato assigns it a fundamental role in the education of the philosopher due to the importance of poetic practices in cultivating the wisdom-loving part of the soul. (shrink)

This article argues that the Phaedo is written as a new sort of story of how a hero faces death; this story provides an alternative to existing tragedy, as understood by Plato. The opening of the Phaedo makes clear that two features that Plato closely associates with tragedy, pity and lamentation, are inappropriate responses to Socrates’ impending death, and that tuchē (chance) did not affect his happiness. This is the first step in the dialogue’s sustained engagement with tragedy. Tragedy for (...) Plato falls under the category of stories about heroes and gods. Plato wrote the Phaedo so that we would see Socrates as a philosophical hero, a replacement for traditional heroes such as Theseus or Heracles. I argue that in fact the Phaedo meets every requirement in Republic Books 2–3 for how to tell stories about heroes and gods and so belongs to the same broad category as tragedy. Within this framework, it tells its new story of how the true hero faces death. (shrink)

The physical sciences, as generally understood, are disciplines concerned with the characteristics and behavior of physical objects and states. What is evident about the current condition of consciousness is that: 1) It has no identified physical states; 2) There is no generally accepted vocabulary of its functioning, or its participant entities; and 3) No ‘normal science’ operative structure upon which a community of scientists agree. The reasons are that consciousness is a prescientific concept persisting because there is no adequate physicalist (...) theory to replace it, and because biology operates in a way ‘invisible’ to assumed mental processes and vocabulary. What is required is a plausible theory built on a biophysical base. A theory is being developed: it is termed the _theory of brain-sign_. Brain-sign replaces consciousness as an evolved neural operation in which brains communicate with each other in the collective action of organisms, so addressing the limitations of being an isolated individual. It depends upon neural signification, in this case of the organisms’ immediate _causal orientation_ towards the world. Thus, multiple organisms are linked as one biophysical operation. Signs are biologically ubiquitous and inherently physical. Organisms are not subjective agents with transcendent powers acting in a perceivable world, but evolved organic objects with the ability to cooperate as one overarching biological process. It is anticipated this theoretical operation and vocabulary will explain brain function, which mind fails to do. It accounts for science from both its neural origins and its communal nature. ER -. (shrink)

De indruk overheerst dat het vertrouwen in instellingen tanende is. Toch wordt deze indruk niet altijd ondersteund door bevragingen en statistieken. Als die indruk een mythe is, dan is de echte vraag: waarom worden we dan tot deze mythe aangetrokken? In dit essay wil ik ons verlangen naar vertrouwen plaatsen in een cultuur en in een denkkader waarin vrijheid en zelfbeschikking blijven primeren, en kijken naar hoe er vandaag theoretisch wordt nagedacht over vertrouwen en publiek beleid. Het valt te betwijfelen (...) of we het vertrouwen dat we zoeken op die manier zullen vinden. (shrink)

Plato’s Phaedrus, perhaps his most enigmatic and structurally convoluted dialogue, could easily be said to inaugurate a pointed critique of mass media that persists to the present day. Indeed, in certain corners of media theory, the origin myth of writing furnished in the Phaedrus (in which the Egyptian god Theuth presents writing as a gift to King Thamus) has in turn come to serve as a kind of origin myth for media theory: a primaeval pharmacopoeia of media effects. And yet, (...) this is an origin myth that can only underwrite not only its own non-originarity and non-truth, insofar as its very status as a written text ensures that it will never meet the criteria that it itself establishes for a reasoned account of things (logos). It remains perpetually orphaned, unable to defend itself, irrevocably cut off from its ‘father’, the speaking subject, and thus from the vitality of living discourse. But this paradox, I argue, is not a failing of the dialogue, but is a device intended to encourage the reader’s active involvement in the text’s status as medium. The Phaedrus is not just diagnostic, but therapeutic. (shrink)

Since antiquity, scholars have observed a structural tension within Plato’s Phaedrus. The dialogue demands order in every linguistic composition, yet it presents itself as a disordered composition. Accordingly, one of the key problems of the Phaedrus is determining which—if any—aspect of the dialogue can supply a unifying thread for the dialogue’s major themes (love, rhetoric, writing, myth, philosophy, etc.). My dissertation argues that “soul-leading” (psuchagōgia)—a rare and ambiguous term used to define the innate power of words—resolves the dialogue’s structural tension. (...) I clarify the conceptual and dramatic features of soul-leading by focusing on the dialogue’s uniquely prevalent use of the semantic network of “leading” and “following.” By continuing to foreground the language and drama of leading and following, I offer a new interpretation of the dialogue as a whole: the Phaedrus is Plato’s articulation of how the soul can be led into communion with reality. Chapter 1 discusses scholarly disputes about the unity of the Phaedrus and proposes that soul-leading adequately satisfies the criteria put forward for what would count as a unifying element. I argue that soul-leading unifies the dialogue both thematically and non-thematically; moreover, soul-leading is a theme capacious enough to account for the other principal contenders for unity put forward. Chapter 2 develops the ambiguous character of soul-leading by examining how the dialogue showcases dangerous forms thereof. Love and language are dangerous when they lead the soul toward goods which can never truly fulfill it. In order to clarify how love and language can mislead the soul, Socrates develops a set of accounts of how the soul is led, both internally and externally, in the three speeches on love. If the soul is to be led into communion with reality (the proper end of soul-leading), it must be led internally by the right part of the soul and externally by the right object of desire. Chapter 3 argues that all souls can, in principle, be harmonized and directed in the way that Chapter 2 requires. I show that Plato’s view of philosophy is neither elitist (i.e., some are intrinsically incapable of philosophy) nor naively essentialist. All can come into communion with reality because all are by nature equipped to do so. While Plato recognizes that there are forces which tend to prohibit one from exercising one’s capability of being rightly led, none of them are intrinsic to human nature. Chapter 4 argues that successful soul-leading require neither the leader nor the follower to be already well-disposed to what’s ultimate in order for the pair to come to a communion with what’s ultimate. Plato’s depiction of soul-leading love shows that love can itself promote the formation needed for both leader and follower to come into contact with reality. Love can do so because it is always already bound up reality in its responsiveness to beauty. Beauty itself calls the lover to itself by shining through the beautiful beloved, who acts as a reminder of transcendent Beauty. The lover mediates this same experience for the beloved. Each comes to desire the other as well as Beauty itself. Chapter 5 argues that the drama of the lovers’ formation mythically depicted in the Palinode (Chapter 4) is written into the drama of the dialogue as a whole. In the relationship between Socrates and Phaedrus, we see an enactment of love’s formative role. Likewise, in the relationship between Phaedrus and Lysias, we see an enactment of the dangerous soul-leading discussed in Chapter 2. My focus on leading and following also allows me to show the thematic significance of the drama’s setting. Chapter 6 articulates the metaphysical conditions under which one can be led into communion with reality. Transcendent Beauty invites us into communion with itself and makes possible our ascent by providing us with divine guides and images which can transport us from our ordinary experiences to the true beings. Beauty accomplishes its work—leading us in a “divine dance” where we follow the gods up to Beauty and back down to each other—through images. When we handle images of reality rightly, they lead our souls into communion with reality. Further, when we have come into communion, we’ll be inspired to be co-workers of Beauty’s soul-leading work. When we articulate reality in language, we create new images that can serve to lead others toward reality. (shrink)

Works of science fiction tend to describe hypothetical futures, or counterfactual pasts or presents, to entertain their readers. Philosophical thought experiments tend to describe counterfactual situations to test their readers’ philosophical intuitions. Indeed, works of science fiction can sometimes be read as containing thought experiments. I compare one especially famous thought experiment from Plato’s Republic with what I read as two thought experiments from Isaac Asimov’s Foundation Trilogy. All three thought experiments concern myths used in political contexts, and comparing them (...) permits me to analyze the morality of political mythologizing. (shrink)

Plato’s references to Empedocles in the myth of the Statesman perform a crucial role in the overarching political argument of the dialogue. Empedocles conceives of the cosmos as structured like a democracy, where the constituent powers ‘rule in turn’, sharing the offices of rulership equally via a cyclical exchange of power. In a complex act of philosophical appropriation, Plato takes up Empedocles’ cosmic cycles of rule in order to ‘correct’ them: instead of a democracy in which rule is shared cyclically (...) amongst equal constituents, Plato’s cosmos undergoes cycles of the presence and absence of a single cosmic monarch who possesses ‘kingly epistēmē’. By means of a revision of Empedocles’ democratic cosmology, Plato’s richly woven myth is designed precisely to reject the appropriateness of democracy as a form of human political association and legitimate monarchy in its stead. (shrink)

Both current and past analyses and critiques of transhumanist and posthumanist theories have had a propensity to cite the Greek myth of Prometheus as a paradigmatic figure. Although stark differences exist amongst the token forms of posthumanist theories and transhumanism, both theoretical domains claim promethean theory as their own. There are numerous definitions of those two concepts: therefore, this article focuses on posthumanism thought. By first analyzing the appropriation of the myth in posthumanism, we show how the myth fails to (...) be foundational and how we need to rethink the posthumanist mythological framework. We then introduce Haldane’s Daedalus figure as a fruitful analogy to understand the demiurgic posture that critics mean to unveil by first using Prometheus. Daedalus embodies the artisan role, whose status as an inventor for the mighty preserves from the gods' direct opprobrium. Thereafter, we introduce the Camusian Myth of Sisyphus as a competing analogy that ultimately serves as a myth better suited to address the posthumanist position on an existential standpoint. we ultimately show that Sisyphus, as the ‘absurd man’ that Camus claims him to be, is himself the posthuman, thus serving as a more ideal foundational myth for posthumanism and preserving the importance of narrative in posthuman discourses. To conclude, we specifically show that the concept of Sisyphus as a posthuman icon has significance that reaches beyond narrative value to current ecological debates in posthumanism. (shrink)

Protagoras’ Grand Speech is traditionally considered to articulate a contractualist approach to political existence and morality. There is, however, a newly emerging line of interpretation among scholars, which explores a naturalist layer in Protagoras’ ethical and political thought. This article aims to make a contribution to this new way of reading Protagoras’ speech, by discussing one of its most elaborate versions.

This article tackles the sole surviving ancient commentary on what was perhaps the second most important Platonic work, with special interest for the manner in which the ancients tackled the setting of Plato's dialogues, Socratic ignorance, Socratic eros, the central myth-like Palinode, and the question of oral as against written teaching.

A Symbol doesn't explain, says Jung. In fact it is beyond the dichotomy of the binary logic, that wants the limiting and restrictive diktat of the tertium non datur to be perpetuated so as to be obliged to choose between two possibilities being anyway on the same nomological axis.

In the early twentieth century Walter Benjamin introduced the idea of epochal and ongoing progression in interaction between mind and the built environment. Since early antiquity, the present study suggests, Benjamin’s notion has been manifest in metaphors of gender in city-form, whereby edifices and urban voids have represented masculinity and femininity, respectively. At the onset of interaction between mind and the built environment are prehistoric myths related to the human body and to the sky. During antiquity gender projection can be (...) detected in western perceptions linking natural and built environments, commencing with Plato’s Atlantis and his Myth of Er, and later as a likely import of the Chinese yin-yang mythology. Culminating with the Age of Discovery, alongside advances in experiential awareness of the Earth’s sphericity, respective feminine and masculine earmarks can be detected in early modern perspicacity of the Earth’s southern and northern hemispheres. Our conceptions of natural and built environments inherently continue to contain gender traits. Yet urban voids, as the feminine face of city-form, have been severely understated in the built environment. Through design and configuration of urban voids, allegories of femininity in city-form ought to be celebrated, not discarded. (shrink)

Plato’s Timaeus gives an account of the creation of the world and of human race. The text suggests that there was a first generation of human beings, and that they were all men. The paper raises difficulties for this traditional view, and considers an alternative, suggested in more recent literature, according to which humans of the first generation were sexually undifferentiated. The paper raises difficulties for the alternative view as well, and examines the third possibility, advocated by some ancient as (...) well as modern interpreters, according to which there were no first humans, strictly speaking. Although the latter view avoids the pitfalls of the former two views, it crucially rests on a metaphorical reading of the creation story in the Timaeus. (shrink)

Moving beyond the piecemeal approach to the Euthyphro that has dominated much of the previous secondary literature, I aim in this article to understand the dialogue as an integrated whole. I argue that the question of myth underlies the philosophical and dialogical progression of the Euthyphro. It is an adherence to traditional myth that motivates each of Euthyphro’s definitions and that also accounts for their failure. The dialogue thus presents a broad criticism of traditional myth. But, as Socrates’s references to (...) Daedalus and Proteus show, myth can have a positive role and can be used for philosophical purposes. (shrink)

In this paper, I question a widespread reading of a passage in the last part of the Phaedrus dealing with the science of dialectic. According to this reading, the passage announces a new method peculiar to the later Plato aiming at defining natural kinds. I show that the Phaedrus itself does not support such a reading. As an alternative reading, I suggest that the science of dialectic, as discussed in the passage, must be seen as dealing primarily with philosophical rhetoric (...) and knowledge of human souls. (shrink)

At the end of the fifth century B.C.E., the character of Odysseus was scorned by most of the Athenians: he illustrated the archetype of the demagogic, unscrupulous and ambitious politicians that had led Athens to its doom. Against this common doxa, the most important disciples of Socrates (Antisthenes, Plato, Xenophon) rehabilitate the hero and admire his temperance and his courage. But it is most surprising to see that, in spite of Odysseus' lies and deceit, these philosophers, who condemn steadfastly the (...) sophists' deceptions, praise his rhetorical ability, his polutropia. The word polutropia is ambiguous: for Antisthenes, it means either "diversity of styles and discourses" or "diversity of dispositions, characters, or souls". It is argued that the same distinction is implicitly at work in Plato's Hippias Minor, where Socrates defends Odysseus' polutropia against the pseudo "simplicity" of Hippias' favourite hero, Achilles. However, whereas Antisthenes tries to clarify these different meanings, Plato's Socrates exploits the ambiguity to confuse his interlocutor. Such a distinction sheds a new light on the Hippias Minor: Odysseus is polutropos in the first (positive) sense, while the simplicity of Achilles should be understood as a bad kind of polutropia. It provides an explanation for the first paradoxical thesis of the dialogue which many commentators do not admit as an expression of the true Socratic view, on the ground of its supposed immorality: that he who voluntary deceives is better than he who errs, for falsehood is, in one case, only in words, while in the other, it is falsehood in the soul itself. It is thus proposed that Odysseus' skill in adapting his logos to his hearers was probably a model for Socrates himself. The analogy between the hero and Socrates is especially clear in Plato's dialogues, which show the philosopher in an Odyssey for knowledge. (shrink)

The advent of logical positivism contributed to the sharp definitional demarcation between what we consider mythical (mythos) and what we take to be a true account (logos). This essay attempts to go back to one of the sources of such a supposed distinction. By analyzing the Gorgias, I will show that even Plato did not make such a distinction. In fact, Plato even constructed a theory of justice that made use of myth as its medium. The Platonic Myth in the (...) Gorgias was used as true logos in order to justify Socrates’ use of the myth as the paradigm of a life that is philosophical in contrast to that of his accusers who espoused mere sophistry. By using the concept of historia in relation with the concept of mythos, Plato regarded the futuristic afterlife in the myth as a sufficient condition to live a just life. This sufficient condition exemplified by the Myth in the Gorgias is a measuring rod by which we can compare our present system of justice. (shrink)

The Eleusinian Mysteries are religious rituals that include rites of initiation, purification, and revelation. The high point of these Mysteries is the moment when a priest reveals the secret of the Mysteries to the newly initiated. Plato frequently uses language and motifs from the Mysteries in his dialogues, yet Plato scholars have not paid much attention to this usage, and those who have done so have not found much philosophical significance in it. I argue that in explaining his epistemology in (...) three middle and late period dialogues Plato consciously and systematically uses Eleusinian Mystery motifs to convey the idea of a unique kind of knowledge. This immediate, direct, and incorrigible knowledge bursts upon Plato's initiates after they undergo preparatory processes such as purification through elenchus. I examine the Eleusinian Mystery motifs that Plato employs in the Ladder of Eros at Symposium 209e--212a, in the middle books of the Republic, including the Myth of the Cave at Republic 509a--518d, and in the Myth of the Soul at Phaedrus 246a--253c, and I argue that Plato finds these Mystery elements useful for two reasons. First, in many cases before an individual can come to know a form he must go through certain conditioning and transformatory processes to prepare him for it, and motifs from the Mysteries help Plato to describe these processes. Second, knowledge of a form is different from other kinds of knowledge, and the motif of the visual revelation of the epopteia helps him to express the direct, unmediated contact that constitutes knowledge of a form. ;The structure of the dissertation is as follows. In chapter one I present background information concerning the stages and events of the Mysteries. I consider the purpose and effects of initiation into the Eleusinian Mysteries, paying special attention to the preparatory rituals. In chapter two I present a general discussion of certain aspects of Plato's epistemology and show how Plato employs the five Mystery motifs of progressing through a sequence of stages, purification, being led by a mystagogos, experiencing the epopteia, and achieving eudaimonia in order to explicate these aspects. In chapter three I consider the specifics of Plato's use of Mystery terminology in the Symposium. And finally, in an Appendix, I argue that Plato has a model of knowledge by acquaintance, since I assert in chapters two and three that Plato uses the Mystery theme of an epopteia to express features of this model. (shrink)

Nowruz, meaning “new day” in Persian, is an ancient celebration marking the arrival of spring at the vernal equinox. Far more than a mere commencement of a new year, this tradition, with its origins stretching back over three millennia to the era of Zoroastrianism, embodies a profound reverence for life, rebirth, and the perennial triumph of light over darkness. Celebrated by diverse ethno-linguistic and cultural communities across a wide geographical expanse, Nowruz presents a rich tapestry of visual, auditory, and ritualistic (...) elements. Its aesthetics, encompassing the meticulously arranged Haft-Seen table, the vibrant hues of traditional clothing, the resonating sounds of celebratory music, and the symbolic acts of fire jumping and communal feasting, are deeply intertwined with the foundational myths that have shaped this enduring tradition. This report aims to explore the intricate relationship between these underlying mythological narratives and the rich ceremonial aesthetics of Nowruz, illustrating how these myths are visually, audibly, and symbolically represented in contemporary practices across various cultures. (shrink)