Academic literature on the topic 'Irish Goddesses'

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Journal articles on the topic "Irish Goddesses"

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Bergholm, Alexandra. "Book Review: Modern Retelling of Ancient Irish and Welsh Tales: Philip Freeman, Celtic Mythology: Tales of Gods, Goddesses and Heroes." Expository Times 129, no. 6 (2018): 287–88. http://dx.doi.org/10.1177/0014524617746815.

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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.

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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depic
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Thuente, Mary Helen. "Lady Morgan's Beavoin O'Flaherty: Ancient Irish Goddess and Enlightenment Cosmopolitan." New Hibernia Review 16, no. 2 (2012): 33–53. http://dx.doi.org/10.1353/nhr.2012.0021.

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Breeze, Andrew. "Welsh Chwant ‘Desire’ and Trisantona ‘River Trent’ in Tacitus." Вопросы Ономастики 18, no. 1 (2021): 128–39. http://dx.doi.org/10.15826/vopr_onom.2021.18.1.005.

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The article deals with the ancient name of the longest river solely in England, the Trent, flowing past Stoke-on-Trent and Nottingham to the North Sea. In a passage that has raised debate and led to a number of misinterpretations in literature, Tacitus recorded it as (emended) Trisantona, which has been explained from Old Irish sét ‘course’ and Welsh hynt ‘path’ as ‘trespasser, one that overflows’ (of a stream liable to flood). Trisantona or the like would be the name of other rivers, including the Tarrant in Dorset and Tarannon or Trannon in mid-Wales. Yet the interpretation ‘trespasser’ has
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Scharffenberger, E. W. "Peisetaerus' ‘Satyric’ Treatment of Iris: Aristophanes Birds1253–6." Journal of Hellenic Studies 115 (November 1995): 172–73. http://dx.doi.org/10.2307/631657.

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The messenger goddess Iris alights at Birds 1199 in the city of Cloudcuckooland. She has been dispatched by Zeus to instruct mortal men on earth to maintain their sacrifices in honor of the Olympian gods, not yet aware that the birds, with the protagonist Peisetaerus as their leader, have founded this city as the hub of an empire that aims to wrest control of the universe from her divine family. This, however, she learns from a tense exchange with Peisetaerus, who forbids her passage through the birds' aerial domain.
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Chuilleanáin, Eiléan Ní. "The Ages of a Woman and the Middle Ages." Irish University Review 45, no. 2 (2015): 199–214. http://dx.doi.org/10.3366/iur.2015.0172.

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This essay springs from the experience of translating the Old Irish ‘Song of the Woman of Beare’, and from researching its reception in the twentieth century. The poem was rediscovered in the 1890s and the scholarly reaction is tinged with Victorian preoccupations, including the bohemian cult of François Villon. In Ireland it is aligned with Pearse's ‘Mise Éire’, and with the work of later poets such as Austin Clarke. But as well as voicing the ancient text, the Woman of Beare appears in folklore in both Ireland and Scotland, and there are interesting parallels and divergences between the trad
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Lyle, Emily B. "The law of succession established by Eochaid Fedlech and its implications for the theme of the Irish sovereignty goddess." Etudes Celtiques 42, no. 1 (2016): 135–42. http://dx.doi.org/10.3406/ecelt.2016.2473.

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Tafjord, Bjørn Ola. "Romantic Indigenizing of New Religions in Contemporary Europe Critical Methodological Remarks." International Journal for the Study of New Religions 9, no. 2 (2019): 303–27. http://dx.doi.org/10.1558/ijsnr.37626.

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Romanticisms, not colonialisms, drive the indigenizing and the religionizing in the cases described and analyzed in this special issue. In what follows, I shall explain what I mean by this observation and suggest ways to think about it critically. The task of this essay is to highlight entangled methodological and political contexts for the discussion about “indigenizing” that Graham Harvey opened in his introduction, a discussion that the different case studies then continued and exemplified. Inspired by Paul Christopher Johnson’s theorizing about indigenizing (Johnson 2002a), Harvey asks whe
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Gradaleva, Ekaterina А. "HORSE FESTIVALS AND HORSES AT FESTIVALS: THE ROLE OF TRADITION IN MODERN BRITAIN." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 38–48. http://dx.doi.org/10.17223/22220836/40/3.

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The image of a horse appears in many spheres of the British culture and in each case it has a special symbolic meaning. It is important to notice that the symbolic meaning is more essential in the British mentality than the material one. Festivals can be one of the spheres where we can observe the versatility and historical meaning of the horse image. On the one hand, horses as real animals play a significant role in various events: horse competitions, horse shows, parades, royal ceremonies, etc. On the other hand, there is also personification of fancy images of horses at British festivals. D
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Káli-Rozmis, Károly. "The Immortal and Mortal Origins of the Banshee." Freeside Europe Online Academic Journal, no. 1 (Alumni) (2020). http://dx.doi.org/10.51313/alumni-2020-3.

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The banshee is one of the most important supernatural creatures in Ireland, due to her ominous and gloomy fate. There is a debate whether she is a goddess, an undead creature or a fairy; in the case of the modern banshee, all of these categories can be true due to her complex origin. Her oldest forms must have been such Irish warrior goddesses/fairy queens like Mórrigan or Badhbn and the Crone Sisters, who are called the Ladies of the Earth. That is why the personality of the banshee became richer when she incorporated other elements from mortal women. Therefore, the contemporary banshee can b
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Dissertations / Theses on the topic "Irish Goddesses"

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Rowan, Kelley Flannery. "Monstrum in femine figura : the patriarchal devaluation of the Irish goddess, the Mor-rioghan." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/1058.

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This work explores the transformation and eventual demotion of the goddess in ancient Ireland through the evolution of patriarchal mythos and as a consequence of economic factors, socio-political and religious manifestations, as well as agricultural developments. The purpose of this paper is to examine the relationship between leading theories of social, cultural and religious change in prehistory and early history and the historical process of the demotion of the Irish goddess figure, the Mor-rioghan. The Mor-rioghan is the subject of exploration as her militarization and subsequent incarnati
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Bauer-Harsant, Ursula. "Many names, many shapes : the war goddess in early Irish literature, with reference to Indian texts : a study in the phenomenology of religion." Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/26267.

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When studying the Irish texts it soon becomes apparent that the war-goddesses cannot be seen in isolation but only in relationship with a male hero. Two heroes have extensive dealings with the war-goddesses, Cú Chulainn, the famous hero of Ulster, and the Dagda of the Túatha Dé Danann. Cú Chulainn generally benefits from the activities of the Badb, the screeching battle crow, while the Morrgan displays a relentless hostility towards him. One important fact which emerges from these stories is the existence of a deep-seated similarity between the great hero and the otherworldly females which bec
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CLARK, ROSALIND ELIZABETH. "GODDESS, FAIRY MISTRESS, AND SOVEREIGNTY: WOMEN OF THE IRISH SUPERNATURAL." 1985. https://scholarworks.umass.edu/dissertations/AAI8509533.

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Supernatural women were important in Irish literature from earliest times to the present, but their literary portrayal altered with changing societal values and literary taste. Society shaped the roles of goddess, fairy mistress, and Sovereignty both in early Irish literature and in the Irish Literary Renaissance. The Morr(')igan, goddess of war and fertility, originally had a central role in the literature. She acted as an agent of fate, bringing order and prosperity in Cath Maige Tuired, and chaos and destruction in the Ulster cycle. During the Irish Renaissance she was relegated to a less c
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Books on the topic "Irish Goddesses"

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Clark, Rosalind. The great queens: Irish goddesses from the Morrigan to Cathleen ni Houlihan. Barnes & Noble Books, 1991.

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Clark, Rosalind. Theg reat queens: Irish goddesses from the Morrígan to Cathleen ní Houlihan. Barnes & Noble Books, 1991.

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Holub, Joan. Iris the colorful. Aladdin, 2014.

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Rosenstock, Gabriel. Bliain an bhandé =: Year of the goddess : poems in Irish with English translations. Dedalus, 2007.

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Llywelyn, Morgan. Only the Stones Survive: A Novel of the Ancient Gods and Goddesses of Irish Myth and Legend. Forge Books, 2017.

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Cullinan, Mary Alice. What the Irish Goddess Told Me. Mary Alice Cullinan, 2002.

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The Guises of the Morrigan: The Irish Goddess of Sex & Battle. Avalonia, 2005.

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Book chapters on the topic "Irish Goddesses"

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Callan, Maeve Brigid. "“The Safest City of Refuge”." In Sacred Sisters. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463721509_ch03.

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Brigid, Ireland’s only female patron saint, reveals relationships between Ireland’s indigenous traditions and its adopted Christianity as well as the power and authority available to at least some women up until the twelfth century, a time of seismic change for the island. Multiple medieval sources insist she was ordained as a bishop, a status that her successors as abbess of Kildare shared until Ireland’s ecclesiastical hierarchy was drastically revised in 1152. Several sources also show her performing a miraculous abortion for a grateful nun, a miracle several other Irish saints, all male, are recorded as performing as well, challenging conventional assumptions about Catholic sexual morality. Her status as most beloved of all Irish saints in the Middle Ages is attested throughout western Europe; despite this great devotion, or perhaps because of it, Brigid’s historicity remains elusive. Her cult is steeped in conflicting claims of competing political factions, and each locality of her devotion stamped her image with its own mark. In addition, her cult has been influenced by the cult of the Goddess Brigid. Some have rejected the saint’s historical existence entirely, seeing her purely as an euhemerized deity, a Goddess made mortal but without incarnation—a textual, archaeological, and ideological translation from one faith (Paganism) to another (Christianity). Though such a position is not entirely unwarranted, it seems more likely that the cult grew around an actual fifth- and/or sixth-century woman who dedicated her life to God, exemplified exceptional charity and devotion, and established religious communities and churches. Or she may not have been only one woman, but a composite character who incorporated the attributes and accomplishments of several early Christian women, as well as those of indigenous Goddesses and Mary, the Jewish mother of Christ. Whether she was more Goddess than woman, one woman or several, Brigid was a preeminent Christian saint, representing to the Irish important truths about what it meant to be Christian as well as representing virtues of the Irish themselves.
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