Academic literature on the topic 'Literary pantheon'

Ha a görög kultúra azon szegmensére gondolunk, amelyet közmegegyezés alapján ’vallás’-nak nevezünk, elsősorban a politeizmus és az isteni pantheon kifejezések juthatnak eszünkbe. Természetesnek vesszük, hogy a görög vallásban több isten részesül kultikus tiszteletben, az egyénnek számos isten ünnepén kell részt vennie, nekik áldoznia, hozzájuk fohászkodnia kell, hogy polispolgári kötelességét teljesítse. Ám nem igazán szoktunk foglalkozni azzal, hogy ez a sokistenes vallási környezet miképpen működik: az egyén milyen módon tart fönn egyszerre több istennel kapcsolatot, hogyan tisztel több istent, képes-e egyáltalán arra, hogy a pantheon összes istenével jelentéssel bíró kapcsolatot ápoljon? Az utóbbi két évtized görög vallástörténeti kutatásait a fenti kérdések foglalkoztatják, a cikk ennek a tudományos iránynak a keretébe illeszkedve a politeizmuson belül létrejövő egyensúlyi helyzetet, az istenek között kialakuló konfl iktusokat, az egyén részéről személyes igények mentén megvalósuló választásokat és a személyes pantheonok képződését teszi vizsgálata tárgyává.

ABSTRACTThis article reconsiders the possible statuary of the Pantheon in Rome, both in its original Augustan form and in its later phases. It argues that the so-called ‘Algiers Relief’ has wrongly been connected with the Temple of Mars Ultor and is in fact evidence of the association of the Divus Julius with Mars and Venus in the Pantheon of Agrippa, a juxtaposition which reflects the direction of Augustan ideology in the 20sb.c.and the building's celestial purpose. This triple statue group became the focus of the later Pantheon, and its importance is highlighted by the hierarchized system of architectural ornament of the present building.

Abstract This article sets out to address questions concerning local religious traditions in ancient Nubia. Data concerning Egyptian gods in the Sudan are introduced, then the existence of unattested local pre-Meroitic gods is reconstructed using mainly external literary sources and an analysis of divine names. A review of other archaeological evidence from an iconographic point of view is also attempted, concluding with the presentation of Meroitic gods and their relation with earlier traditions. This study proposes that Egyptian religious beliefs were well integrated in both official and popular cults in Nubia. The Egyptian and the Sudanese cultures were constantly in contact in the border area and this nexus eased the transmission of traditions and iconographical elements in a bidirectional way. The Meroitic gods are directly reminiscent of the reconstructed indigenous Kushite pantheon in many aspects, and this fact attests to an attempt by the Meroitic rulers to recover their Nubian cultural identity.

This article is focused mainly on ancient Roman god Quirinus and his origin, character and role in the First Capitoline Triad of ancient roman religion. This article enumerates theories and views of Roman authors on the origin and character of Quirinus as one of the oldest members of ancient Roman pantheon. The available evidence from literary sources pertaining to Quirinus, his priests and festivals is also considered. Author of this article evaluates the similarities between Mars and Quirinus and their priests (Salii and flamines) and possible warlike competences of Quirinus – his connection to war.

Victor Hugo fait partie des écrivains étrangers les plus publiés et les plus lus en URSS. Ce travail revient sur la diffusion et la réception de ses œuvres en Russie, en URSS et en Russie postsoviétique, et notamment sur l’entrée de l’écrivain dans le panthéon littéraire russe puis soviétique des écrivains étrangers, qui permet une large diffusion de ses œuvres.La méthodologie s’inspire de celle adoptée dans l’étude des transferts culturels (M. Espagne) et place au centre de l’attention les processus d’appropriation par la culture d’accueil. On s’intéresse à la création, à travers les traductions, de ce qu’on peut décrire comme l’« œuvre russe » de Victor Hugo ainsi qu’à la formation d’une figure de l’auteur. Alors que les travaux soviétiques affirment que les œuvres de Victor Hugo sont poursuivies par la censure avant la révolution de 1917 malgré l’intérêt des grands écrivains et penseurs russes, puis mises en avant à la période soviétique, on s’aperçoit que Victor Hugo entre dans le panthéon littéraire russe dès le tournant des XIXe et XXe siècle et ne fait que consolider sa place après la Révolution. La réinterprétation de l’œuvre et de la figure de l’auteur à la période soviétique est bien plus superficielle qu’il n’y paraît au premier abord
Victor Hugo was one of the most published and well-known foreign writers in USSR. We will analyse the dissimination and the reception of his works in Russia, USSR and post-soviet Russia. We will pay a special attention to the way Victor Hugo joined the Russian (and then the Soviet) literary pantheon of foreign writers, which made it possible for his works to be widely published.Our methodology is based on the one proposed in the cultural transfers studies (M. Espagne). Thus, we will focus on the process of inclusion of Victor Hugo in the Russian/Soviet culture. The translations, especially the most published ones, came to form what can be described as Victor Hugo’s “Russians works”. The Russian image of Victor Hugo created by translations and critical works also differs from the French one.Soviet works on Victor Hugo in Russia state that Hugo’s works were censored until the Revolution in 1917, although Russian writers showed interest for them, and that they began to be widely published only after 1917. However, Victor Hugo joined the Russian literary pantheon as early as the turn of the 20th century, consolidating his place after the Revolution. In Soviet times Victor Hugo and his works underwent a process of reinterpretation that might seem cardinal at first sight, but occurs to be quite superficial indeed

Cette thèse propose la première étude de la Revue de Paris depuis sa création en avril 1829 jusqu’à sa vente en mai 1834 et a pour but de définir l’identité de ce périodique littéraire.La première partie de cette thèse tente ainsi de replacer « La Revue de Paris en son temps ». Tout d’abord, dans une approche qui appartient au domaine de la sociologie de la littérature, l’auteur recrée le tissu social constitué par les hommes qui dirigent la Revue, par ceux qui lui permettent d’exister financièrement, et enfin par ceux qui y publient. Cette première approche sociologique fait apparaître la profonde diversité des collaborateurs : dès le début, la Revue de Paris s’affirme comme un « panthéon où son admis tous les cultes ». Cette métaphore, qui donne son sous-titre à cette thèse, est tirée du texte liminaire qui annonce la création de l’Album, en novembre 1829 et donne une indication de l’éclectisme qui préside au choix des auteurs dont les articles sont publiés. La lecture de la Revue sous un angle politique, qui constitue le deuxième chapitre de cette thèse, laisse apparaître un ancrage libéral de la Revue. La Revue participe à sa façon à la chute de Charles X. La Revue de Paris se situe au centre-droit. D’abord favorable au nouveau régime, la Revue se fait de plus en plus critique envers l’orléanisme, et le choix de Pichot d’abandonner la « Revue politique » ne fait que confirmer l’éloignement grandissant entre la Revue de Paris et le régime de Juillet.Enfin, cette première approche de l’identité de la Revue analyse sa place dans le champ de la presse littéraire entre 1829 et 1834. Au moment de sa création, la Revue est considérée par son créateur comme la version française des Reviews et Magazines britanniques. Entre 1829 et 1834, et contrairement à ce qu’affirme la longue tradition critique qui fait de la Revue des deux mondes la principale revue littéraire du début des années 1830, la Revue de Paris est le véritable modèle de l’époque.À la fin de cette première partie, les approches combinées de la sociologie littéraire, de la politique et de l’histoire de la presse amène l’auteur à donner une première définition de la Revue de Paris : elle est éclectique, mondaine, libérale et se situe tout en haut de la « pyramide » de la presse littéraire. Au cours de ses cinq années d’existence, elle a été le plus grand périodique littéraire français. Il s’agit alors, après avoir replacé la Revue en son temps, d’interroger le cœur même de la Revue, c’est-à-dire les articles qu’elle publie. Faisant le choix de traiter tout d’abord la création littéraire, l’auteur analyse les textes sous l’angle générique. La création littéraire de la Revue traite les grands thèmes de la littérature de 1830, et en ce sens la Revue est le miroir de son époque. Néanmoins, s’il n’y a pas à proprement parler de « littérature Revue de Paris », la Revue doit être considérée comme un creuset des genres littéraires. Concernant la nouvelle, elle trouve dans la Revue des réalisations dont la variété repose essentiellement sur l’hybridité. Parce qu’elle offre aux auteurs une grande liberté créative, la Revue se définit comme un panthéon où l’imagination se concrétise dans des formes narratives plurielles. Au contraire, la production dramatique est dominée par le genre du proverbe. Quant à la poésie, elle apparaît comme la partie littéraire la plus faible. Cet ensemble est dominé par des auteurs majeurs et mineurs du romantisme, à tel point que l’on peut considérer la Revue de Paris comme une revue romantique. Néanmoins, la partie critique oblige à nuancer cette analyse : la critique littéraire de la Revue de Paris laisse apparaître une critique parfois violente du romantisme. La condamnation morale de la littérature se fait de plus en plus insistante au fil des mois, LA revue romantique par excellence se révèle être le « panthéon où sont admis tous les cultes », qu’ils soient romantiques ou antiromantiques. En réalité, la Revue est le miroir de son époque
This dissertation proposes the first study of the Revue de Paris since its creation in April 1829 until its sale in May 1834 and aims to define the identity of this literary periodical.The first part of this thesis attempts to replace "The Revue de Paris in its time". First of all, in an approach that belongs to the field of sociology of literature, the author recreates the social fabric constituted by the men who lead the Journal, by those who allow it to exist financially, and finally by those who publish there. This first sociological approach shows the deep diversity of the collaborators: from the beginning, the Revue de Paris is affirmed as a "pantheon where are admitted all the cults". This metaphor, which gives its subtitle to this thesis, is taken from the introductory text that announces the creation of the Album, in November 1829 and gives an indication of the eclecticism that governs the choice of authors whose articles are published. The reading of the Review from a political angle, which constitutes the second chapter of this dissertation, reveals the liberalism of the Review. The Review participates in its own way to the fall of Charles X. The Revue de Paris is located in the center-right. Initially favorable to the new regime, the Review is becoming increasingly critical of Orleanism, and the choice of Pichot to abandon the "Political Review" only confirms the growing distance between the Revue de Paris and the July polity. Finally, this first approach to the identity of the Review analyzes its place in the field of the literary press between 1829 and 1834. At the time of its creation, the Review is considered by its creator as the French version of British Reviews and Magazines. Between 1829 and 1834, and contrary to what affirms the long critical tradition that makes the Revue des deux mondes the main literary review of the early 1830s, the Revue de Paris is the true model of the time. The combined approaches of literary sociology, politics and the history of the press lead the author to give a first definition of the Revue de Paris: it is eclectic, mundane, liberal and is at the top of the "pyramid" of the literary press. During its five years of existence, it was the largest French literary periodical. It is then, after having replaced the Review in its time, to question the very heart of the Review, that is to say the articles it publishes.Making the choice to treat literary creation first, the author analyzes texts from the generic point of view. The literary creation of the Revue deals with the great themes of the literature of 1830, and in this sense the Review is the mirror of its time. Nevertheless, if there is not, strictly speaking, a "Revue de Paris literature", the Review must be considered as a crucible of literary genres. Concerning the short story, it find in the Review of the achievements whose variety rests essentially on the hybridity. Beyond its simple entertaining function, the short story is a success mainly based on its plasticity, which allows it to be both exotic and historical, exotic and fanciful, historical and frantic ... Because it offers authors a great creative freedom, the Revue defines itself as a pantheon where the imagination is concretized in plural narrative forms. On the contrary, dramatic production is dominated by the genre of the proverb. As for poetry, it appears as the weakest literary part. This set is dominated by major and minor authors of Romanticism, so much so that one can consider the Revue de Paris as a romantic review. Nevertheless, the critical part makes it necessary to qualify this analysis: the literary criticism of the Revue de Paris reveals a sometimes violent critique of romanticism. The moral condemnation of literature is becoming increasingly insistent over the months, THE ultimate romantic review proves to be the "pantheon where are admitted all the cults", whether romantic or anti-romantic. In fact, the Review is the mirror of its time

The Jungle Books can be regarded as classic stories told by an adult to children. But they also constitute a complex literary work of art in which the whole of Kipling’s philosophy of life is expressed in miniature. They are best known for the ‘Mowgli’ stories; the tale of a baby abandoned and brought up by wolves, educated in the ways and secrets of the jungle by Kaa the python, Baloo the bear, and Bagheera the black panther. The stories, a mixture of fantasy, myth, and magic, are underpinned by Kipling's abiding preoccupation with the theme of self-discovery, and the nature of the ‘Law’.

This essay looks at five Romantic-era women writers who invoke Mary Tighe in their works by name, quotation, or epigraph--Anna Maria Porter, Anna Letitia Barbauld, Alicia Lefanu, Lady Morgan, and Felicia Hemans--to consider what these invocations suggest about lines of affiliation, the construction of aesthetic communities, and attempts to shape or forecast reception. It argues that these woman writers create a citational network through the figure and work of Mary Tighe, to call attention to her significance and therein establish their own histories of influence and reception. Their citational practices produce a more expansive version of what Gerard Genette designates the ‘epigraph effect’ in Paratexts, affording opportunities for writers to signal their place in a cultural tradition, to acknowledge or choose their peers and predecessors, and to proleptically instantiate their consecration in a particular literary pantheon. They effectively create a canon of their own by building citational networks.

This chapter uses Dryden’s poetry as a case study through which to explore the practical dynamics and literary consequences of censorship across the Restoration period (1660–1700). Though normally seen as a securely established Stuart loyalist—the right place to start, though too crude a category for a poet of his agility, complexity, and irony—Dryden had to navigate political conditions of great instability throughout his career, and was in opposition at key points. Genres considered include elegy, panegyric, mock panegyric, topical application tragedy, fable, and classical translation; texts considered include Heroic Stanzas, Astraea Redux, Mac Flecknoe, The Duke of Guise, The Hind and the Panther, and Dryden’s translation of Juvenal with his discourse on satire. Contexts include the operation of Restoration censorship under Roger L’Estrange, clandestine printing and scribal publication, the significance of the 1679–85 licensing lapse, and the emergence of Jacobite satire from 1689.

A particularly baroque literary appearance of the Kentucky Mummy highlights the transformation of public perceptions of indigenous antiquities in the United States in the Civil War decade. An imaginary romance of Mammoth Cave, Legends of the South (Smith 1869), describes a mysterious, annual journey of a “venerable Indian” down into the cavern. Ultimately the old man disappears into its depths, never to return. Decades later the author pursues the subterranean trail, encountering marvels that include the warning Siste viator—“Stop, traveler”— chalked on the cave wall. Nearby he finds the deceased elder, reduced to a “mummy-like dessication” clad in deerskin. Armed with an amulet taken from the body he pushes onward, ultimately entering a vast sepulcher in which . . . lay the warrior tribe, in their panoply complete. Supine—with their hands crossed upon their breasts, with their faces turned upward, as if acknowledging the presence of a superior being, they lay, like the marble effigies of the knights of old upon their sarcophagi. . . . In this catacomb the author is haunted by a ghostly “Sachem” who chides: “Are you not satisfied that your cruel warfare has exterminated us from the surface of the earth? Must you follow us to these chambers of death to scatter our ashes?” The supernatural figure then describes the wars of his dead people, prophesying that those events would be repeated in post-Civil War United States. “Nations from the rising sun shall make war upon the conquerors,” he pronounces “and then shall the Southern panther rise from his lair, and avenge his wrongs.” This subterranean tale amplified the myriad accounts of the Kentucky Mummy—a discovery two generations in the past by that time. By the mid-nineteenth century such visions of indigenous antiquity were increasingly commonplace, but the linkage between these histories and current events indicate increasingly deep associations with the American landscape. It was not simply abstract indigenous history that was being co-opted, however, but the material legacy of that experience—the ruins and artifacts that were ubiquitous in the increasingly populated countryside.

Marian shrines were always the sites of miraculous healings and spectacular apparitions. Nowadays, they have also become the crystallisation points of the New Age phenomena. Several studies have already pointed out this trend with regard to popular pilgrimage destinations. As far as the Hungarian Marian shrines are concerned, none of them have been systematically examined from this perspective. This chapter aims to provide a deeper in- sight of how a Marian shrine is being re-orchestrated as a specific ‘power place’ in the context of alternative spiritualities, such as New Age religiosity or ethno-paganism at one Marian shrine at Máriagyűd. From the wide-ranging New Age phenomena and religious practices that the author observed during the past decades at Máriagyűd, she chose the prominent example of an esoteric group called Magyar MAGok [Hungarian Seeds], which deals with diverse religious and healing activities. Their programmes include sha- manic drumming sessions, tours to ‘sacred sites’ in Hungary and the Carpathian Basin (mostly Romania), weekend meditations, esoteric workshops, readings on the history and culture of the ancient Hungarians, such as direct kinship between the Hungarians and the Huns, or the identification of the Ancient Hungarians with the Scythians, or the Hungarian origins of the Christian Father God. In accordance with the millennial narrative, they use the elements of the alternative history of the Hungarians as well as other motifs which recall UFO-religions and ET-spiritualities, and last but not least, the idea of healing and cleansing as the basic means leading to universal well-being. The description of their unique rituals and other religious practices is followed by an analysis of the discourse on the contested authority of the shrine. The author of the chapter focuses on the role of the Virgin Mary within their discourse. She found it interesting that Mary is connected with the so-called Boldogasszony (literally [Blessed Woman]), which is a special Hungarian denomination of the Virgin Mary and, at the same time, the alleged goddess of the ancient Hungarians. ‘Boldogasszony’ has been used as a synonym for the Blessed Virgin Mary since the Middle Ages (cf. Madas 2002). The quest for a lost epic and a missing mythology of the Hungarians, which was inspired by national romanticism, resulted in the term gaining an ethnic taste by the end of the 19th century. ‘Boldogasszony’ was the most emblematic female figure of the pantheon in the re-invented Ancient Hungarian religion – the Mother Goddess (Kálmány 1885). With regard to its contemporary use, ‘Boldogasszony’ is also interpreted as the Hungarian equivalent of the Goddess (Bowman 2009), and is also considered Mother Earth (Gaia) and the galactic patroness of all Hungarians par excellence. The author put the manifold interpretations of the Virgin Mary's figure in the centre of attention, highlighting the Catholic Church's standpoint on the emergence of New Age spirituality at Catholic devotional places.