Academic literature on the topic 'Nymphes (divinités grecques) – Culte'
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Journal articles on the topic "Nymphes (divinités grecques) – Culte":
Calame, Claude. "Récit héroïque et pratique religieuse. Le passé poétique des cités grecques classiques." Annales. Histoire, Sciences Sociales 61, no. 3 (June 2006): 525–51. http://dx.doi.org/10.1017/s0395264900003164.
Feraru, Remus M. "Sărbători consacrate lui Apollon la Milet și in coloniile sale de la Pontul Euxin / Fetes consacrees a Apollon a Milet et dans ses colonies du Pont-Euxin." Analele Banatului XXV 2017, January 1, 2017. http://dx.doi.org/10.55201/tokl5203.
Dissertations / Theses on the topic "Nymphes (divinités grecques) – Culte":
Dalmon, Sébastien. "Espaces et lieux de culte des nymphes en Grèce ancienne." Paris 7, 2016. http://www.theses.fr/2016USPCC105.
The common representation of the Nymphs often narrows them down to the condition of female deities of natural areas. This piece of work contemplates going beyond this somewhat reducing vision, by precisely assessing these deities’ relations with different types of places and spaces, and in doing so, tries to unfold their specific modes of action, including the mediation they operate within the ancient Greek polytheistic system. Part one endeavors to bring out various types of Nymphs and how they act in the spaces they inhabit in the traditional narratives known to literary sources, especially poetry (from the Archaic to the Hellenistic period, combining the Greek Anthology): water world (sources, rivers, wetlands, maritime space), rural spaces (mountains, caves, woods and forests, grasslands), remote locations (fringes of the world, underworld) or close to human beings (gardens, homes and the city space). Part two deals with Nymphs’ various places of worship (springs, caves, altars, urban and other sanctuaries), studying their diverse configurations, archaeological and epigraphic accounts, rituals put in context and divine associations one can discern (limited to mainland Greece up to Thessaly and the outstanding site of Delos). One may also have to look into the consistency–or occasionally, the disparity–of the Nymphs’ depiction in poetic sources, with the reality of cults and their location
Bélanger, Jacinthe. "Les divinités invoquées dans les tablettes d'imprécations grecques." Master's thesis, Université Laval, 1989. http://hdl.handle.net/20.500.11794/29450.
Leclerc, Yann. "Grottes, couloirs et adyta : l'espace souterrain dans les sanctuaires du monde grec antique." Bordeaux 3, 2010. http://www.theses.fr/2010BOR30035.
Subterranean spaces were often documented through infernal cults leading to an amalgam with chtonian places. If not necessarily wrong, this interpretaion is simplistic and does take into consideration neither the multiplicity of forms these spaces endorse, nor the variety of attached worships. Thus, among these places, three main sets can be distinguished corresponding to three spatial and symbolic approaches. Firstly caves dedicated to nature deities. In this case, the symbolic and spatial dimension of the natural cavity corresponds to an underground space with horizontal progress. Therein, sinking does not mean going down, but just moving inside the shelter. The cult is not chtonian, but Uranian. Secondly underpasses or Aulon in the form of a natural or artificial structures, within a broader temenos. They are related to a ritual use of space in which the movement is associated with the katabasis concept. These structures act as places of communication with the underworld and processing. They include an obvious chhonian dimension. Thirdly, the underground space can be associated with oracular practice. Thus fitted, the Adyta are understood as a linking place, where contact with the divine power is limited in time. Therefore considering one single underground space is less meaningful than distinguishing various underground spaces where spatial dynamics and subsequently religious symbolism are very different
Books on the topic "Nymphes (divinités grecques) – Culte":
Agamben, Giorgio. Nymphs. London: Seagull, 2013.