A true story that may or may not have happened, often used by cultures to explain or understand some aspect of the external world. Across time, space, and cultures, myths develop in response to changing worldviews in an attempt to create a symbolic representation of the universe as we perceive it.

Sapere Aude accepts all varieties of submissions, whether they be non-fiction, creative non-fiction, short stories, poetry, plays, screenplays, paintings, drawings, sculptures, music, dance, film, photography, fashion, etc. Below are some examples of how to look at memory in the context of a category, utilizing your choice of expression:

The construction of myth to explain the external world is a nearly universal human practice. Is the creation and use of myth a hard wired or necessary aspect of our humanity? Are our constructions of reality, our memories, or our identities myths? Can we ever fully grasp an objective reality? Do the myths we create help us better operate in this reality? To what extent are myths integral to our ability to understand? What role does the creation of myths play in the learning process? Do shared myths create a collective consciousness?

Mythical beasts are often portrayed with unique physical anatomy, how do such bodies characterize these creatures and create allegories of the cultural fears and phenomena they reflect? In a rational world that eschews mythology and fairy tales alike, why do visual depictions of such creatures remain so prevalent in art, media, and popular culture? In what ways has the human body been used a source for these mythologies?

Death is a central feature to most myths, either as the impetus for change or as the final resolution.  Most of the longest-lasting myths in human history have discussed death, from The Odyssey to The Bible.  A myth is more than a story; it has the power to address the needs of the human psyche, and no need is deeper than that of confronting death.  How do we use myths to symbolize and understand death?  What sort of myths do cultures build around death?  How has death itself been turned into a myth?  How are popular myths influenced by the theme of death (for example zombies and vampires)?  Does death need to be mythicized?  Why or why not?

Myths, though often seen as particular to certain cultures, are in fact, inherently universal. Across space, we see how cross-cultural influences affect both the creation and spread of myths and, often, how multiple cultures have varying accounts of the same stories (for example, Cinderella). What is space’s role in alternately uniting and diversifying cultural texts and what are its effects on the myth itself? We invite you to consider how many myths feature similar settings and that almost all of them incorporate a journey of sorts. Why must characters enter and leave spaces (alternately, communities) in order to grow or complete a challenge? What is it about certain landscapes, both real and imaginary, that are imbued with so much significance that myths repeatedly make use of them?

Myths have existed for as long as storytelling has existed. How has their fundamental nature changed over time? Are myths today similar to the myths told long ago? In an age of science, are myths still necessary to explain the unexplained? After generations of telling and retelling, how have certain long-lasting myths evolved over time? Alternately, think about time’s presence in myths. What myths have existed to explain the concept of time? What role or archetype has personified time in myths? Which myths have utilized time as a central concept?


The deadline for submissions that would like to be given feedback is November 1, 2015. The final deadline for submissions is November 28, 2015.

Submission Guidelines:

All categories accept a variety of media—films, photographs, visual art, music, performance, poetry, non-fiction, opinion editorials, essays, screenplays, short stories, gaming, codes etc. Non-fiction word limit is 2,000, short stories and screenplays 2,500. If you have a type of submission that we haven’t outlined, please talk to us, we want to accommodate new types of submissions.

Accepted file types:

  • Photos: .jpeg, .jpg, .png, .gif
  • Stories, essays, poetry, text: .doc, .pdf
  • Plays & screenplays: .pdfs
  • Audio: Soundcloud links
  • Videos (films or performances): Vimeo or YouTube links

How to submit to Sapere Aude

  • The submission process is blind; our web administrator removes the names before the editors review submissions to eliminate bias.
  • You can submit as many pieces as you want per issue. Again, we evaluate blindly, so if it’s all of merit, it will all be published.
  • Each submission must include author commentary that briefly explains how the piece addresses the theme as it relates to the chosen category.
  • The name of your file must be the same as the title of your submission.
  • Please note that the author commentary you submit will be published with your submission, if accepted.

Why should you submit?

  • Prior publication is important for your resume and C.V. (Curriculum Vitae, what you use to apply to grad school).
  • Sapere Aude is a vehicle to showcase your work and share with the community. Possible collaborations from faculty and fellow students could arise once your work appears in a public forum.
  • Sapere Aude provides a platform to learn what is required for publishing.


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