Journal articles: 'Literary pantheon'

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Copeland, Jean. "Pantheon Girls." Harrington Lesbian Literary Quarterly 8, no. 4 (June 17, 2008): 75–98. http://dx.doi.org/10.1080/15569220802086483.

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Filbin, Thomas, and Joseph Epstein. "Joseph Epstein's Pantheon." Hudson Review 47, no. 1 (1994): 123. http://dx.doi.org/10.2307/3852169.

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Dubois, Sébastien. "Joining the Literary Pantheon: How Contemporary French Poets Attain Renown." Revue française de sociologie 52, no. 5 (2011): 87. http://dx.doi.org/10.3917/rfs.525.0087.

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Gyula, Lindner. "Egyensúly, konfliktus és választás az archaikus és klasszikus kori görög politeizmusban." Antik Tanulmányok 61, no. 2 (December 2017): 153–68. http://dx.doi.org/10.1556/092.2017.61.2.1.

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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.

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Thomas, Edmund. "The Cult Statues of the Pantheon." Journal of Roman Studies 107 (June 22, 2017): 146–212. http://dx.doi.org/10.1017/s0075435817000314.

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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.

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Almansa-Villatoro, M. Victoria. "Reconstructing the Pre-Meroitic Indigenous Pantheon of Kush." Journal of Ancient Near Eastern Religions 18, no. 2 (November 26, 2018): 167–89. http://dx.doi.org/10.1163/15692124-12341299.

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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.

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Pearson, Sara L. "Mrs. Gaskell’s Personal Pantheon: Illuminating Mrs. Gaskell’s Inner Circle." Brontë Studies 46, no. 3 (June 28, 2021): 324–25. http://dx.doi.org/10.1080/14748932.2021.1915007.

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Beckman, Gary, and B. H. L. van Gessel. "Onomasticon of the Hittite Pantheon: Parts I and II." Journal of Biblical Literature 118, no. 3 (1999): 575. http://dx.doi.org/10.2307/3268214.

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Šmerda, Martin. "Quirinus and his Role in Original Capitoline Triad." Sapiens ubique civis 1, no. 1 (December 1, 2020): 57–64. http://dx.doi.org/10.14232/suc.2020.1.57-64.

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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.

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Sesanti, Simphiwe. "The Pan-African Pantheon: Prophets, Poets, and Philosophers." International Journal of African Renaissance Studies - Multi-, Inter- and Transdisciplinarity 15, no. 2 (July 2, 2020): 137–39. http://dx.doi.org/10.1080/18186874.2021.1873509.

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Milhous, Judith. "Painters and Paint at the Pantheon Opera, 1790–1792." Theatre Research International 24, no. 1 (1999): 54–70. http://dx.doi.org/10.1017/s0307883300020265.

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The importance of scene painters to English theatre increased markedly toward the end of the eighteenth century—in part a response to the contributions of Philip James De Loutherbourg at Drury Lane in the 1770s. Advertisements began routinely to record the name of what we would now call the scene designer. Gaetano Marinari was identified as principal painter and machinist at the King's Theatre in the Haymarket between 1785 and 1789, when the old opera house burned. Thomas Greenwood held the equivalent position at Drury Lane, John Inigo Richards at Covent Garden, and Michael Angelo Rooker at the Little Theatre in the Haymarket. For particular productions the names of assistant painters might also be advertised. On 20 December 1785, for example, Covent Garden listed Richards, Carver, Hodgins, Catton Jun., and Turner as the crew that executed scenery for the travelogueOmai, which turned out to be De Loutherbourg's last designs for the London theatre.

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Stephenson, Barry. "The Christ of Kazantzakis's Christ Recrucified." Christianity & Literature 67, no. 4 (August 21, 2018): 669–88. http://dx.doi.org/10.1177/0148333118763425.

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In the wake of Martin Scorsese's film adaption of the controversial novel The Last Temptation of Christ by the Greek writer Nikos Kazantzakis, Kazantzakis's work received a flurry of attention, but focused on The Last Temptation. The figure of Christ, however, is central to Kazantzakis's larger literary oeuvre, and a rounded picture of Kazantzakis's fictional Christology requires tending to these works. This article develops the central themes of the tacit Christology informing Kazantzakis's Christ Recrucified: crucifixion as an emblem of spiritual-moral struggle; motifs of adoptionism and exemplarism; spring/Easter as the agitation of matter to transubstantiate; the defiant, war-like “face” of Christ; and Christ's affinity to the broader pantheon of Greek gods and fertility myths.

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Mardock, James. "Stanley Wells, Shakespeare and Co, New York: Pantheon Books, 2006. xv + 285 pages." Ben Jonson Journal 15, no. 2 (November 2008): 290–93. http://dx.doi.org/10.3366/e1079345308000321.

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Russell, Gillian. "The Peeresses and the Prostitutes: The Founding of the London Pantheon, 1772." Nineteenth-Century Contexts 27, no. 1 (January 2005): 11–30. http://dx.doi.org/10.1080/08905490500133022.

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Murray, Albert. "The Vernacular Imperative: Duke Ellington's Place in the National Pantheon." Callaloo 14, no. 4 (1991): 771. http://dx.doi.org/10.2307/2931183.

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Murray, Albert. "The Vernacular Imperative: Duke Ellington's Place in the National Pantheon." boundary 2 22, no. 2 (1995): 19. http://dx.doi.org/10.2307/303817.

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Krul, Julia. "“Prayers from Him Who Is Unable to Make Offerings”: The Cult of Bēlet-ṣēri at Late Babylonian Uruk." Journal of Ancient Near Eastern Religions 18, no. 1 (May 24, 2018): 48–85. http://dx.doi.org/10.1163/15692124-12341294.

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AbstractAfter 484BC, several deities were (re)introduced into the pantheon of Uruk—most importantly the city’s new patron deity, the sky god Anu, but also the netherworld goddess Bēlet-ṣēri (“Lady of the Steppe”). In this article, I investigate the possible reasons behind the introduction of Bēlet-ṣēri’s cult at Uruk and the role ascribed to her by local worshipers. Using literary compositions, ritual texts, and legal documents, I trace the historical development of Bēlet-ṣēri’s divine characteristics, reconstruct her daily worship at Uruk, and examine the socioeconomic status of Urukean individuals bearing a “Bēlet-ṣēri-name.” I conclude that Bēlet-ṣēri was especially popular among non-elite citizens, probably because she could intercede with the queen of the netherworld, Ereškigal, for the lives of her followers and their families.

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Węgrzyn, Iwona. "Kłopotliwe dziedzictwo sarmatyzmu. Romantyczni twórcy wobec postaci starosty kaniowskiego Mikołaja Bazylego Potockiego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 166–91. http://dx.doi.org/10.24917/20811853.20.11.

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The paper is not only an attempt at reconstructing the literary legend of Mikołaj Potocki, a governor from Kaniów, but also a story about the helplessness of the Polish 19th‑century writers against the crazy magnate, his legend and Sarmatism, which he represented. Works by Kraszewski, Groza, Grabowski, Jankowski and many other authors, which are dedicated to Mikołaj Potocki, seem to be an interesting testimony of the 19th‑century writers’ struggle with the tradition of their ancestors (not always obvious and accepted). They also make it possible to formulate a thesis about the 19th‑century retouch of pre‑Enlightenment noble culture (rejecting cruelty as a component of knightly identity of noble culture and eliminating characters evoking confusion from among the pantheon of ancestors, for example those described as tricksters by anthropologists).

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Quinn, Michael. "Concepts of Theatricality in Contemporary Art History." Theatre Research International 20, no. 2 (1995): 106–13. http://dx.doi.org/10.1017/s0307883300008324.

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Theatre historians often turn to art history, not only for information about source images that can help with the speculative reconstruction of lost performances, but also for lessons in historiographic method. Historians from both disciplines have long shared the difficulties of ‘ekphrasis’, i.e. the translation of nondiscursive images into descriptions, and vice versa, as well as other vexing problems of general history like periodization, documentation of events, and so on. Unlike theatre history, art history has a recognized pantheon of interpreters, which has been subjected to overview studies like Michael Podro'sThe Critical Historians of Artas well as specific treatments of major critics and their influence, like Michael Ann Holly's work on Panofsky. Theoretical concerns about historiography, sometimes assumed by literary critics of ‘master narratives’ to be synonymous with postmodernism, developed somewhat earlier in art historical writing, which would appear to be an advantage.

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O'Flaherty, A. "Pantheon de la Guerre: Reconfiguring a Panorama of the Great War." French Studies 62, no. 2 (April 1, 2008): 246–47. http://dx.doi.org/10.1093/fs/knm315.

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Lupovitch, Howard N. "Navigating Rough Waters: Alexander Kohut and the Hungarian Roots of Conservative Judaism." AJS Review 32, no. 1 (April 2008): 49–78. http://dx.doi.org/10.1017/s0364009408000032.

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With these words, Alexander Kohut engaged the radical Reform stance of Kaufman Kohler in the spring of 1885. The exchange with Kohler crystallized Kohut's raison d'être for Conservative Judaism: an authentic alternative to what he termed “stupid Orthodoxy and insane Reform.” Kohut articulated a fully developed version of this view in Ethics of the Fathers, a compilation of his polemics against Kohler that he published a few months later. This earned Kohut a place among the Conservative movement's pantheon of nineteenth-century founders, along with Sabato Morais, Benjamin Szold, and Marcus Jastrow.

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Kupfer, Charles A. "Ring Lardner's You Know Me Al: Up from Popularity." Prospects 30 (October 2005): 487–504. http://dx.doi.org/10.1017/s0361233300002143.

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Ring Lardner's position in American literature suffers more from the praise he gains than the criticism he receives. His reputation as an acerbic journalist, mordant satirist, master dialectician, and popular sportswriter still draws clouds of suspicion across the minds of highbrow critics weighing his stature as a serious writer.Lardner himself did nothing to debunk the notion that he was at heart a pulp author, never tearing away from his journalistic roots as did other authors who started their careers in the newspaper business. It may have been comfort with his preferred environment, or a reverse snobbery, but Lardner always disdained self-conscious artfulness, instead preening his image as a wordsmith and copy-slave. Max Perkins, his Scribner's editor, noted this self-defined lowbrow posture: “He always thought of himself as a newspaperman, anyhow. He had a sort of provincial scorn for literary people.”Provincial scorn notwithstanding, Lardner was a prominent member of Perkins's stable. Contemporaries at Scribner's included Thomas Wolfe, Ernest Hemingway, and F. Scott Fitzgerald. Perkins, a literary talent scout with a knack for coaxing maximum output from mercurial writers, devoted ample time and attention to cultivating Lardner's work. Few writers of any stripe could boast more lustrous friends and colleagues, and, in his lifetime, Lardner's proper place in the American literary pantheon was accorded with scant complaint. It was only after his death in 1933 that the diminishing process began.

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Fishman, David E. "A Polish Rabbi Meets the Berlin Haskalah: The Case of R. Barukh Schick." AJS Review 12, no. 1 (1987): 95–121. http://dx.doi.org/10.1017/s0364009400001872.

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The name of Rabbi Barukh Schick of Shklov (1744–1808) does not figure in the pantheon of great eighteenth-century Jewish personalities, alongside those of R. Israel Ba′al Shem Tov, Moses Mendelssohn, and R. Elijah, the Vilna Gaon. Unlike the latter, his teachings were not distinguished by great originality or profundity, and they exerted rather limited influence. Indeed, Schick's name might well have fallen into total oblivion were it not for a few lines in the introduction to one of his books (a Hebrew translation of Euclid's Elements), in which he related certain remarks made to him by the Vilna Gaon in support of the study of science.

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Lizon, Martin. "“MANARAGA” AND OTHER WRITINGS (Some Aspects of the Russian Literature Model Formation in the Russian Book Market)." Philological Class 26, no. 1 (2021): 9–21. http://dx.doi.org/10.51762/1fk-2021-26-01-01.

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The article compares the functioning of Russian fiction works in the artistic narrative (“Manaraga”, the short story of Vladimir Sorokin) and in the space of the Slovak book market. It draws attention to the relationship between the works of fiction value and a certain literary space, that is, to the problem of a literary canon formation (pantheon) as an essential component of the literature system. The value in the text is understood as the cultural (symbolic) capital of a work of art, awarded to it by a certain institution, within which the work is functioning. To a certain extent, this perception is opposed by its identification in Sorokin’s short story with economic capital (the cost of individual publications) and the profit expectation from the sale of books by publishers, since these two antagonistic capitals – the cultural and the economic one – are, according to Pierre Bourdieu [Bourdieu 2010], an integral part of literature existence in the literary field. The value of works of fiction in these two systems is considered by the example of the Russian literature model and its hierarchy presented in “Manaraga” and on the basis of the Russian literature model that has developed over the past 30 years in the Slovak book market. The article reveals the parallels between these two systems, which indicate: firstly, Sorokin’s reflection on the Russian literature functioning in the space of world literature; secondly, the essential importance of the value attributed to individual literary texts (the status of a classical writer, or a representative of world literature), as an essential factor of the Russian literature model formation in the Slovak book market.

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Vinitsky, Ilya. "The First Serbian Female Writer: From the History of Nineteenth-Century Women’s Literature." Slovene 9, no. 1 (2019): 284–327. http://dx.doi.org/10.31168/2305-6754.2019.8.1.11.

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At the end of the nineteenth century the Romantic image of Eustahija Arsić (1776–1843) was introduced to the Serbian national pantheon as the first Serbian woman writer and philosopher of the modern age. This image was based first and foremost on her book “Useful Thoughts on the Four Seasons” which appeared in Budim in 1816 under that author’s name. In the second half of the twentieth century several scholarly studies and a biography were devoted to Arsić. More recently this image has attracted the attention of scholars of women’s literature in South Slavic countries. These scholars note that her “Thoughts”, while influenced by Western pre-romantic (sentimentalist) literature, illuminate a wide range of fields, including philosophy, ethics, history, natural science, anatomy, physics, and religion, while at the same time they introduce the genre of the “feminist essay” into Serbian literature. The poems that are included in “Thoughts” appear in anthologies of Serbian literature as original poems by Arsić. The present essay shows that the ideas about the originality, European erudition, cosmopolitanism, personal tone, philosophical gifts and poetic talent are highly exaggerated, and that the image of this author is a cultural construct that was created at a certain stage of the formation of Serbian national literature and was reconceived at a later time. The essay establishes that Arsić’s “Useful Thoughts” is a compilation of essays, tracts, and poetry that appeared in Russian journals from the late 1780s to the early 1810s. These works (including some by Nikolai Karamzin) were transferred into her book with minor orthographic and grammatical changes (e.g. masculine noun endings are changed to feminine ones) and without any indication of the source. The work of the compiler of “Thoughts” consisted solely in taking the sentimental texts of Russian male authors and attributing them to a pious female author. The essay does not simply give the direct sources of this “Slavono-Russian” book of “the first Serbian woman writer” and describe the process of adaptation of the “foreign” as a stage of the national and literary self-affirmation of the “younger” Slavic culture, but it also offers material for a more general (philological and literary-critical) study of the “Slavono-Russian” period in the history of Serbian literature in particular and “pan-Slavic” pre-romanticism more generally. The case of Arsić is likewise interesting for a comparative analysis of the formation of national literary “pantheons” and for a gender history of Russian and other Slavic literatures.

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Laverty, Christopher. "The “Better Judgement” behind the “Walk on Air”." Twentieth-Century Literature 67, no. 1 (March 1, 2021): 57–74. http://dx.doi.org/10.1215/0041462x-8912273.

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This essay examines the influence of Elizabeth Bishop on Seamus Heaney’s poetics in the 1980s and 1990s as he became a global poet. She stands as a unique and overlooked exemplar in Heaney’s poetic pantheon. His reading of Bishop’s work, for all its limitations, nonetheless enables some of his most celebrated poetry of “home.” Since the 1990s, Bishop’s reputation has grown considerably, and recent critical assessments of newly published work have led to new ways of reading her older collections, so that the “reticence” for which she was famed now appears less as an aesthetic principle—as Heaney understands it—than as a concession to a repressive environment. Through intertextual close-readings alongside an examination of Heaney’s literarycritical responses to her work, this essay argues Heaney’s view of Bishop is often refracted through the lens of his own concerns. Ultimately, however, that view helps Heaney develop a poetics where form itself—the essential border-making and border-crossing apparatus—is emblematic of a solution to political crisis, making his misreading a highly productive one.

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Armatowska, Joanna. "Światostwórstwo. Motywy solarne i lunarne w dziecięcej poezji Jerzego Ficowskiego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 12, 2017): 240–49. http://dx.doi.org/10.24917/20811853.16.18.

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World-creating. Solar and lunar motifs in children’s poetry by Jerzy Ficowski The subject of inquiries in this sketch is an ancient Slavonic fairy tale About Swaróg Swarożyc by Jerzy Ficowski – a work directed to the youngest readers, which the author describes as a theogonical poem. It launches two main interpretative contexts. The first is the specifics of children’s literature, in particular the role of the child as an active recipient of poetry in which the metaphor gains an advantage over morality. The second one – a look at Ficowski’s childhood artwork of solar and lunar motifs through the prism of pre-Slavic beliefs. In the mythological Slavonic pantheon, it was the mentioned in the title Swaróg, the god of the sun and the fire, who occupied the highest position, at the same time ruling life-giving force and deadly power. The author shows how this heterogeneous, dissonant world of the poet reveals a subjective approach to children, treating them as an equal literary readers.Key words: About Swaróg Swarożyc; children’s poetry; children’s imagination; Slavonic mythology; proto-Slavicism; sun; moon;

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Ayali-Darshan, Noga. "The Seventy Bulls Sacrificed at Sukkot (Num 29:12-34) in Light of a Ritual Text from Emar (Emar 6, 373)." Vetus Testamentum 65, no. 1 (January 28, 2015): 9–19. http://dx.doi.org/10.1163/15685330-12341185.

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This article deals with the seventy bulls offered at Sukkot according to Numbers 29—a number unparalleled in any other Israelite festival for which no persuasive explanation has been adduced to date. In light of a ritual from the ancient Syrian city of Emar (Emar 6, 373: 36-38), it is suggested that the custom reflects an ancient Levantine tradition of sacrificing seventy sacrifices to the seventy gods—the whole pantheon—during the New Year celebration. The evident transformation of the seventy gods into seventy nations by biblical scribes may explain the late rabbinic midrashic tradition according to which the seventy offerings made at Sukkot correspond to the seventy nations.

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Cooper, Brian. "Lexical Reflections Inspired by Slavonic*Bogŭ: Some Thoughts on the Slavonic Pantheon." Slavonica 12, no. 2 (November 2006): 129–48. http://dx.doi.org/10.1179/174581406x126807.

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Przhigotskiy, Vladislav A. "Essays and Short Stories From Nikolai Naumov’s Collection Strength Breaks the Straw in the Context of the Tchaikovtsy Ideas." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 22–42. http://dx.doi.org/10.17223/23062061/23/2.

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The collection Strength Breaks the Straw, published in St. Petersburg in 1874 by the Circle of Tchaikovsky, marked the heyday of the literary work of Nikolai Ivanovich Naumov, a Siberian writer and official. The works of this collection were originally published in leading democratic journals of this period and later entered the pantheon of populist fiction and won the attention of many contemporaries and researchers in the future. A relevant aspect in the study of Naumov’s creative heritage of the first half of the 1870s, i.e. the mentioned collection, is the understanding of the mutual influence of the various social fields he was engaged in during these years sequentially or in parallel and, accordingly, of his various institutional activities closely connected with literary ones, in particular, with the aesthetics and poetics of the collection. The article explores the mechanisms of influence of these various social fields on Naumov’s literary activities during this period. It reveals the poetic and aesthetic features of the works of the collection caused by the historical and literary trends, by the ideological influence of populism, and by Naumov’s own tasks as a Siberian writer and official. The analysis showed that the features of the works are caused not only by the main trends of populist ideology and fiction, but also by the tasks that Naumov tried to solve in the course of his institutional activities. His works of the first half of the 1870s, which the Tchaikovtsy used to spread their ideology, aimed at satisfying the demands of the mass reader and also at creating his “ideal” reader, which regionalists sought from Naumov. The exceptional documentary nature creating a “reality effect” and directly related to the author’s ubiquitous voice permeating the structure of each essay was a means for Naumov to form the reader’s reception, primarily that of a reader from people and from Siberia. On the other hand, the documentary nature of Naumov’s essays is caused not only by the trends associated with the flourishing of realism and the search for means of transmission of the truth of life in fiction, but also by the writer’s previous public service, which provided him with rich factual material and influenced the nature of its presentation in literature. This mutual influence was largely supported by the fact that, in the considered period, Naumov occupied homologous positions in various social fields.

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Dickson, Gary. "The 115 cults of the saints in later medieval and Renaissance Perugia: a demographic overview of a civic pantheon." Renaissance Studies 12, no. 1 (March 1998): 6–25. http://dx.doi.org/10.1111/j.1477-4658.1998.tb00035.x.

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Dickson, Gary. "The 115 Cults of the Saints in Later Medieval and Renaissance Perugia: A Demographic Overview of a Civic Pantheon." Renaissance Studies 12, no. 1 (March 1998): 6–25. http://dx.doi.org/10.1111/1477-4658.00252.

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Palumbo, Antonello. "Emperor Wu Zhao and Her Pantheon of Devis, Divinities, and Dynastic Mothers, written by N. Harry Rothschild, 2015." T’oung Pao 104, no. 5-6 (December 10, 2018): 680–87. http://dx.doi.org/10.1163/15685322-10456p08.

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Domaradzki, Mikolaj. "DEMOCRITUS AND ALLEGORESIS." Classical Quarterly 69, no. 2 (December 2019): 545–56. http://dx.doi.org/10.1017/s0009838819000971.

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This paper discusses the problem of Democritus’ allegoresis. The question whether Democritus practised allegoresis is usually answered affirmatively. Thus, for example, Jean Pépin, in his classic work on the development of allegorical interpretation, forcefully asserts that ‘Démocrite pratiqua d'abord une allégorie physique’ and that ‘il poursuivit aussi l'allégorie psychologique’. In one way or another, this view has been embraced by Luc Brisson, Ilaria Ramelli, Ilaria Ramelli and Giulio Lucchetta, Gerard Naddaf, to name just a few scholars who have recently examined the issue. However, those who find allegoresis in Democritus are often somewhat perplexed at what they discover. For instance Naddaf, in his otherwise excellent study, assumes that ‘Democritus believed that Homer was indeed a visionary sage with a privileged utterance that he intentionally transmitted allegorically’, upon which he concludes that Democritus’ position is ‘inconsistent and disconcerting given his place in the pantheon of Ionian rationalism’. This shows that the claim that Democritus practised allegoresis stumbles upon the following problem: if Democritus was a rationalist, then the question arises how his rationalism can be reconciled with his alleged belief that Homer deliberately disguised his poems as allegorical prefigurations of various Democritean views. Indeed, one may legitimately ask how rational it would be on Democritus’ part to ascribe to Homer the intention of being interpreted as a precursor of atomist philosophy. The purpose of the present paper is to shed some light on this conundrum and to offer a reconsideration of certain accounts that have been suggested so far.

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Wisnicki, Adrian S. "DIGITAL VICTORIAN STUDIES TODAY." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 975–92. http://dx.doi.org/10.1017/s1060150316000322.

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Digital Victorian studies, as thefield might be called, has entered a new generation of endeavor. Of course, many older digital Victorian projects remain online and continue to be important resources for scholars working in a variety of areas. In the pantheon of the older projects we might include: The Victorian Web (Landow; 1987–2012), a long-standing project that presents an array of images and texts linked to the Victorian era as nodes in a complex network; the Rossetti Archive (McGann; 1993–2008), a comprehensive digital collection of Dante Gabriel Rossetti's poetry, prose, and visual art as well as diverse contextual materials; NINES (2003-present), a nineteenth-century digital resource aggregator that facilitates integrated searching across a variety of sites and that provides peer review for relevant scholarly projects; the Old Bailey Online (Hitchcock; 2003–15), a large-scale venture that, among other things, makes available digital images and fully searchable, structured text of the 190,000 pages that constitute the Old Bailey Proceedings; and Nineteenth-Century Serials Edition (ncse) (Brake; 2005–08), a rigorous edition of six nineteenth-century periodicals and newspapers that explores the issue of modeling nineteenth-century serials in digital form. Many other such projects might also be added. However, the rapid advance of web-based technologies has recently propelled the development of digital Victorian studies in multiple directions at once. The concurrent rise of digital humanities has also ensured that Victorian scholars now have ever more exciting options for creating and analyzing digital Victorian materials and ever more sophisticated questions for interrogating the process by which those materials are created.

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Dronov, Aleksandr M. "The Military Frontier of the Habsburg Monarchy between the Croatian and Serbian Ideas of National Integration (1826–1848)." Slavic World in the Third Millennium 15, no. 3-4 (2020): 7–24. http://dx.doi.org/10.31168/2412-6446.2020.15.3-4.01.

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From the 1820s to the 1840s, the borderland between the Austrian and Ottoman empires witnessed the creation and development of national movements among Serbs and Croats who lived in administrative and political units with special legal status. One of these territories was the Military Frontier, which turned into a battlefield between the Croatian “Illyrians” (Zagreb) and the Serbian “rodoljubs” (Matica Srpska) for the sympathy of the population. The massive territory and dense population of the Military Frontier attracted the architects of territorial and national integration, and the paramilitary population was considered an instrument in achieving political goals. The population of the Military Frontier spoke the Shtokavian dialect of Serbo-Croatian (which also spread, for example, in Dalmatia and Slavonia), and for this reason the Illyrians took this dialect as the basis for Croatian literary language. In doing so, they were able to spread their ideas through printed materials, which they circulated in the Military Frontier. However, the Serbian “rodoljubs” suspected the Croats of wanting Croatisation and Catholicisation. Both national movements built their agitation on the basis of a historical narrative; Serbs by referring to heroes of Serbian history, and Illyrians by amalgamating Serbian and Croatian heroes together to create a single pantheon for all South Slavs. The Serbian Principality (under the rule of the Ottoman Empire) also claimed their share in the future Serbian unification. For its ruling elite, the Hungarian Srem with the residence of the Serbian Metropolitan was of particular interest. Some Croatian and Serbian politicians worked on a plan of joint action regarding the Military Frontier and turned to Polish émigrés for support.

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Kuznetsova, E. V. "Reception of Charles Baudelaire’s work in the poetry of Igor Severyanin." Sibirskiy filologicheskiy zhurnal, no. 4 (2020): 105–18. http://dx.doi.org/10.17223/18137083/73/7.

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The paper considers Igor Severyanin’s approaches to the retransmission of Charles Baude-laire’s creative heritage in his lyrics. In the late 19th – early 20th century, there was a surge of interest in the works of French symbolists and their predecessors, especially to the fate and literary heritage of the author of “Flowers of evil.” Severyanin addressed Baudelaire’s poetry later, at the turn of the 1910s, referring both to his original texts, and translations and critical articles by his older contemporaries (V. Bryusov, F. Sologub, Viach. Ivanov, Ellis, Andrej Belyj, etc.). The analysis covers the peculiarities of this second-wave “Baudelairianism,” its differences from senior and junior symbolists’ apprenticeship, namely, the ironic game in-volving both the image of the “pariah poet” and some of the key themes and motifs of his poetry. In 1909, Severyanin begins mastering Baudelaire’s style by translating his sonnets, but later these, not being entirely successful, are ironically reinterpreted and published in the col-lection “Poesoantract” as purposeful parodies. Another version of the reception is presented in the poem “Sextina” (1910). Weaving a web of verbal puns, the Russian poet inscribes himself in the Pantheon of the famous rulers of doom, while destroying Baudelaire’s tragic aura and placing himself in the vacant place of the poet persecuted by public opinion. Thus, the Severyanin’s reception is seen to reveal the evolution of pre-modernist and modernist cultural codes being a part of the mass discourse, ironic distancing from them, and their loss of philo-sophical and ideological foundations. A conclusion is drawn that the deferential attitude to Baudelaire’s legacy is due both to the change in the readers’ perception in general and to the Severyanin’s aspiration for new avant-garde poetics.

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Garmes, Helder. "A poesia nas histórias da literatura goesa de língua portuguesa." Navegações 9, no. 2 (April 26, 2017): 136. http://dx.doi.org/10.15448/1983-4276.2016.2.23843.

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A ex-colônia portuguesa de Goa, na Índia, teve uma significativa e hoje pouco conhecida produção poética em língua portuguesa. Ainda que parcamente estudada, mereceu a atenção de alguns historiadores e críticos. O presente artigo realiza um percurso por esses textos históricos e críticos que procuraram traçar um panorama da poesia goesa de língua portuguesa. Pretende-se reunir neste trabalho as poucas tentativas de se narrar essa história e, assim, sistematizar a historiografia acerca dessa poesia e chegar a delinear um panteão mais preciso desses poetas nos séculos XIX e XX. Busca-se também avaliar sumariamente até que ponto tais tentativas foram bem-sucedidas e que diferentes perspectivas assumiram. Finalmente, nosso intuito é o de sugerir uma nova abordagem para a reescritura dessa história.********************************************************************Poetry in the Histories of Goan Literature in PortugueseAbstract: Goa, the former Portuguese colony in India, had a relevant but little known poetical production in the Portuguese language. Still, though little tudied, it has received some attention from historians and critics. In this context, this article aims at tracing the itinerary of these historical and critical texts that bring a panorama of Goan poetry in Portuguese. This paper also analyzes the very few attempts made so far at narrating this poetical history and, consequently, also has as its objective to contribute to the systematization of the historiography on Goan poetry in Portuguese and the creation of a more accurate pantheon of these poets during 19th and 20th Centuries. It is also the aim of this work to briefly appraise to what an extent these attempts have been successful as well as the varied perspectives from which they have been made. Finally, our intention is to suggest a new approach for the rewriting of this literary history.Keywords: Poetry; Goan Literature in Portuguese; Indo-Portuguese Literature; History of Literature.

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ФЕДОРІВ, УЛЯНА. "РЕПРЕЗЕНТАЦІЯ ОБРАЗУ ГЕРОЯ-ВОЇНА В УКРАЇНСЬКІЙ СОЦРЕАЛІСТИЧНІЙ ЛІТЕРАТУРІ." Studia Ukrainica Posnaniensia 8, no. 2 (December 31, 2020): 107–17. http://dx.doi.org/10.14746/sup.2020.8.2.08.

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The article is devoted to the research of socialist realism canon in Ukrainian literature. This canon is considered an artificially modeled power project in the sphere of culture and literature which aimed at creating a monostylistic system with clearly defined rules and recommended schemes, especially including thought-out characters understandable for the mass Soviet reader in order to monopolize power at all levels and to establish a new Soviet identity (“homo sovieticusˮ). The socialist realism canon is a complex and heterogeneous phenomenon. It imposed patterns for analysing and reflecting on reality in art and culture. From the 1930s, any texts following the authorities’ regulations acquired a typical structure, predictable and recognizable features that turned literature into a mass-produced uniform “artistic” product. The task of such a governmental experiment was both to transform the world, and to change the way reality was perceived. The aesthetized falsification of existence, the clear domination of everything “ideological” and “totalitarian” in the field of culture, shaping the socialist realistic theory as a process of politicizing artistic consciousness - these are the blocks that determined the formation and functioning of the socialist realism canon of Ukrainian literature. The publication reflects a new vision of the problem of the literary representation of the Soviet Pantheon of Heroes in the socialist realism texts, in particular novels by Natan Rybak, Yurii Zbanatskyi, Oles Honchar, Andrii Malyshko, Natalia Zabila etc. Basically, the idea is that in order to build a bright future the Soviet system needed a new man, so all the forces were thrown into the “newanthropological typeˮ. The article deals with the modeling role of the hero-warrior in the socialist realism text. This image was established in the mass consciousness by means of propaganda and agitation.

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Fawaz, Ramzi. "A Queer Sequence: Comics as a Disruptive Medium." Publications of the Modern Language Association of America 134, no. 3 (May 2019): 588–94. http://dx.doi.org/10.1632/pmla.2019.134.3.588.

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At first glance, Hillary Chute's Why Comics? presents itself as a chronicle of the heroic deeds of a Pantheon of creative gods. Across ten chapters, Chute tracks the aesthetic achievements of more than twelve world-renowned comics artists whose innovations in sequential visual art represent a range of human experiences, from wartime violence to teenage sexuality to queer family history to living with cognitive and physical disability. In Chute's narrative, such luminaries as Alison Bechdel, Art Spiegelman, Daniel Clowes, Joe Sacco, Lynda Barry, and Marjane Satrapi rise up from the vast landscape of comics production as artists whose bodies of work testify to comics's aesthetic diversity and sophistication. These typically erudite cartoonists work at a distance from mainstream comics and produce adult-oriented, long-form graphic narratives considered aesthetic masterpieces. “Although comics of all kinds are flourishing in the twenty-first century,” Chute explains early on in Why Comics?, “there has been a dramatic uptick” in the kind of “auteurist comics” produced by these cartoonists (18), who relish, in Clowes's words, the way the medium allows them to “control absolutely everything and make it … exactly what you're seeing in your own head” (qtd. in Why? 18). For Chute, it is this “singular intimacy of one person's vision”—best displayed in comics produced by sophisticated adult cartoonists writing and drawing for other adults–that underscores that comics are also for grown-ups (18). By now, we all should know this, but we have not learned the lesson well enough (or perhaps some just refuse to listen).

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Dash, J. Michael. "Aimé Césaire: The Bearable Lightness of Becoming." PMLA/Publications of the Modern Language Association of America 125, no. 3 (May 2010): 737–42. http://dx.doi.org/10.1632/pmla.2010.125.3.737.

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Allons, la vraie poésie est ailleurs. Come on, true poetry lies elsewhere.—Suzanne CésaireThe Recent Death of AIMÉ Césaire has Been an Occasion for Extolling his Virtues As Venerable Patriarch, Founding Father, and sovereign artist. Even his fiercest critics have considered him a unique poet-politician worthy of being interred in the Pantheon by the French state. Members of the créolité movement, such as Raphael Confiant and Patrick Chamoiseau, hailed him as the “nègre fondamental” ‘foundational black man,’ who was also like the father of the Martinican people. Confiant reiterated his filial devotion as Césaire's “fils à jamais” ‘son forevermore,’ and Chamoiseau identified him as the “maître-marronneur” ‘master Maroon.’ This wave of adulation tends to emphasize the militant poet-politician that Césaire never quite was. He was arguably the founder neither of a nation nor of a people nor, for that matter, of a movement. While he coined the word négritude, he was less the founder of the negritude movement than was his contemporary Léopold Sédar Senghor, who set about creating a totalizing, biologically based ideology around the concept of negritude. Perhaps even more telling is his view of the Haitian leader Henry Christophe as tragically flawed because of Christophe's obsession with founding a people. The protagonist of the play La tragédie du roi Christophe (The Tragedy of King Christophe) is a heedless builder, so obsessed by the need to construct and to found that he destroys himself, leaving behind the massive stone ship of the Citadelle as his legacy.

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Paul, Benjamin. "Giuseppe Pavanello., ed. La Basilica dei Santi Giovanni e Paolo: Pantheon della Serenissima. Chiese Veneziane 1. Venice: Marcianum Press, 2013. 526 pp. €110. ISBN: 978–88–6512–110–8." Renaissance Quarterly 66, no. 4 (2013): 1381–83. http://dx.doi.org/10.1086/675118.

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Gaiter, Colette. "The Art of Liberation." South Atlantic Quarterly 119, no. 3 (July 1, 2020): 567–86. http://dx.doi.org/10.1215/00382876-8601422.

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This article describes an under-reported success of the Black Panther Party for Self-Defense. Through a creative team led by the party’s Minister of Culture Emory Douglas, who was also the Black Panther (BP) newspaper’s designer and main illustrator, the Panthers visualized compelling alternatives to post–Civil Rights Black assimilation in the United States. Douglas and the other artists filled the paper’s pages every week with drawings, cartoons, and posters that empowered people who were historically relegated to subservient representations in mainstream media. Douglas’s larger posters were wheat-pasted on walls in Black communities, creating advertising for psychological liberation as the struggles for complete liberation continued on several fronts. Through textual and visual analysis of BP newspapers from 1968, clear visual strategy and intentions are deconstructed in a way that illuminates the party’s more visible words and public actions and explains why their “revolutionary art” resonates into the twenty-first century.

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Mugnai, Niccolò. "T. A. MARDER and M. WILSON JONES (EDS), THE PANTHEON: FROM ANTIQUITY TO THE PRESENT. Cambridge: Cambridge University Press, 2015. Pp. xix + 471, illus. isbn 9780521809320. £65.00/US$78.00." Journal of Roman Studies 106 (February 11, 2016): 290–92. http://dx.doi.org/10.1017/s0075435816000137.

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Millanzi, Riziki. "Kimoyo Beads, Multiverses and Crossovers: Establishing (Re)connection in the World of Marvel’s Black Panther." Excursions Journal 11, no. 1 (July 1, 2021): 47–76. http://dx.doi.org/10.20919/exs.11.2021.274.

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In the Black Panther comics and film, literary plot devices, genre conventions and narrative choices are all used to examine issues of connection. From Vibranium and Kimoyo Beads to the interdisciplinary team of creators that established them, (re)connection is a vital part of the Black Panther universe, both inside and out. This article explores how Marvel’s Black Panther universe can be used to explore the threads of (re)connection that are present within our everyday lives. It establishes how connection takes place within contemporary social movements, such as Black Lives Matter, and considers how Black Panther represents this connection as an opportunity for facilitating change and progress.

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FEARNLEY, ANDREW M. "THE BLACK PANTHER PARTY'S PUBLISHING STRATEGIES AND THE FINANCIAL UNDERPINNINGS OF ACTIVISM, 1968–1975." Historical Journal 62, no. 1 (September 11, 2018): 195–217. http://dx.doi.org/10.1017/s0018246x18000201.

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AbstractHistorians of America's post-war social movements have said little about the financial underpinnings of activism, and this article aims to address this oversight. It focuses on the Black Panther Party, which was formed in Oakland, California, in 1966, and was soon one of America's most visible, and controversial, black power organizations. The article sketches the array of funding sources from which the party drew, and reconstructs the apparatus it fashioned to steward those resources. It condenses the discussion to one of the organization's most lucrative streams, that of book publishing, and relates this to the period's literary culture, which, in the US, witnessed a ‘black revolution in books’. Between 1968 and 1975, members of the party published some ten books, which together raised $250,000 in advances, and additional sums through their sale, serialization, and translation. The production of these works relied on the assistance of several freelance writers, and was guided by the party's commercial agency, Stronghold Consolidated Productions. By recovering the role of these groups and the infrastructure they fashioned, the article shows how publishing was connected to the wider financial structure of the organization, and prompts us to see that the Panthers’ books were not just accounts of their activism, but examples of it.

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Burrell, Barbara. "W. Martini, Das Pantheon Hadrians in Rom: Das Bauwerk und seine deutung (Sitzungsberichte der Wissenschaftlichen Gesellschaft an der Johann-Wolfgang-Goethe-Universität Frankfurt am Main 44, no. 1). Stuttgart: Franz Steiner Verlag, 2006. Pp. 47, illus. ISBN 3-515-08859-8. €24.00." Journal of Roman Studies 97 (November 2007): 350–52. http://dx.doi.org/10.1017/s0075435800003956.

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Rodríguez Valdés, Pablo. "Revisión de la figura de la diosa Hécate a través de sus asimilaciones." Myrtia 35 (November 12, 2020): 161–75. http://dx.doi.org/10.6018/myrtia.454811.

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En el ámbito de la filosofía neoplatónica de Proclo el Diádoco, representante destacado de la escuela de Atenas, la figura de la diosa Hécate es de una importancia fundamental, ya que se configura como elemento central de la tríada noérica que separa el Intelecto paterno del demiúrgico, del que manan la Virtud y el orden material de las cosas. Este planteamiento bebe directamente de los oráculos caldeos, un compendio fragmentario de respuestas divinas recopilado en época de Marco Aurelio (segunda mitad del siglo II), en el que Hécate aparece como diosa profética y de sumo poder. Para llegar a comprender cómo una entidad que nunca formó parte del panteón olímpico más extendido en época clásica o helenística llegó a ser uno de los seres más poderosos en la Antigüedad tardía, hace falta estudiar el complejo y rico proceso de asimilación y convergencia que experimentó con otras divinidades, gracias, sobre todo, a los cultos orientales y mistéricos y a la expansión del helenismo por el territorio egipcio. Así pues, el objeto del presente artículo es revisar la evolución del papel de la diosa Hécate desde una perspectiva diacrónica, estableciendo como límites el siglo VIII a.C. y elIV d.C. Si bien analizaremos los diversos testimonios literarios y epigráficos en los que sea mencionada, el centro de atención serán los Himnos órficos y el Papiro Mágico IV 2785- 2890, que permiten conocer de primera mano el proceso de asimilación producido. In the context of the Neoplatonic philosophy of Proclus the Successor, a prominent representative of the school of Athens, the figure of the goddess Hecate is of fundamental importance, since it is configured as a central element of the noeric triad that separates the paternal Intellect from the demiurgic, from which the Virtue and the material order of things flow. This approach drinks directly from the Chaldaean oracles, a fragmentary compendium of divine responses compiled at the time of Marco Aurelio (second half of the second century), in which Hecate appears as a prophetic goddess of great power. In order to understand how an entity that was never part of the most widespread Olympic pantheon in Classical or Hellenistic times became one of the most powerful beings in Late Antiquity, it is necessary to study the complex and rich process of assimilation and convergence that it experienced with other divinities, thanks,above all, to the oriental and mystical cults and the expansion of Hellenism through the Egyptian territory.Thus, the purpose of this article is to review the evolution of the role of the goddess Hecate from a diachronic perspective, setting the eighth century B.C. as limits, and the fourth A.D. Although we will analyze the various literary and epigraphic testimoniesin which it is mentioned, but the focus will be the Orphic Hymns and the Magic PapyrusIV 2785-2890, which allow us to know first hand the assimilation process produced.

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Dalemans, Jacques J. "Kassandra und Panthoos." Neophilologus 75, no. 3 (July 1991): 433–44. http://dx.doi.org/10.1007/bf00406708.

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Frank, Bernhard. "Rilke's the Panther." Explicator 61, no. 1 (January 2002): 31–33. http://dx.doi.org/10.1080/00144940209597744.

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Journal articles on the topic 'Literary pantheon'

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