Relevant bibliographies by topics / The cult of Dionysus

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Academic literature on the topic 'The cult of Dionysus'

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Published: 24 April 2022

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Journal articles on the topic "The cult of Dionysus"

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Plácido Suárez, Domingo. "Los festivales dionisíacos: entre el gozo, el dolor y la gloria." ARYS: Antigüedad, Religiones y Sociedades, no. 13 (October 5, 2017): 61. http://dx.doi.org/10.20318/arys.2017.2749.

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Resumen: En Atenas, el escenario principal en época clásica era el teatro de Dioniso, vinculado al culto de este dios, lo que se ve transpuesto a los héroes en el desarrollo de la ciudad, en el paso de los cultos agrarios a fiestas cívicas, en un proceso de integración relacionado con las tiranías.Dioniso es el que ha dado a los hombres alegría y dolor, según Hesíodo. Él mismo es pues personificación de las contradicciones de la vida misma, en la que es difícil hallar el gozo en estado puro. Pero existía antes un culto heroico que se integra en las ciudades en su formación como poleis.Abstract: In Athens, the main stage in classical times was the theatre of Dionysus, linked to the worship of this god. This is transposed to the heroes in the development of the city, in the transition from the agricultural cults to civic celebrations, in an integration process relatedto the tyrannies. Dionysus is who has given to men joy and pain, according to Hesiod. It is thus a personification of the contradictions of life itself, in which it is difficult to find joy in its purest form. But before there was a heroic cult which is integrated in the cities in their formation as poleis.Palabras clave: Dioniso, teatro, culto heroico, cultos agrarios, poleisKey words: Dionysus, theatre, heroic cults, agricultural cults, poleis
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Hall, Joshua M. "Dionyseus Lyseus Reborn." Philosophy Today 66, no. 1 (2022): 57–74. http://dx.doi.org/10.5840/philtoday20211013429.

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Having elsewhere connected Walter Otto’s interpretation of Dionysus as a politically progressive deity to Huey P. Newton’s vision for the Black Panthers, I here expand this inquiry to a line of Otto-inspired scholarship. First, Alain Daniélou identifies Dionysus and Shiva as the dancing god of a democratic/decolonizing cult oppressed by tyrannical patriarchies. Arthur Evans sharpens this critique of sexism and heteronormativity, concluding that, as Dionysus’s chorus is to Greek tragedy, so Socrates’s circle is to Western philosophy. I thus call for the creation of a hybrid Dionysian-Socratic revolutionary philosophical chorus, modeled on Dionysus Lyseus (from -lysis), wielding philosophical analysis to loosen injustice’s bonds, as a vanguard of social justice. I find a handbook for this chorus’s creation in Euripides’s Bacchae, whose Dionysus is an ally of immigrant women, overthrower of Theban patriarchy, and international revolutionary. Finally, I offer a contemporary example of such a chorus that is based in my hometown in Alabama, namely, the Birmingham Philosophy Guild.
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Poliakova, O. O., and V. V. Asotskyi. "DIONYSUS CULT AS A PROTOTYPE OF AUTONOMOUS GENDER." Anthropological Measurements of Philosophical Research, no. 15 (May 28, 2019): 155–65. http://dx.doi.org/10.15802/ampr.v0i15.168865.

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Shevchenko, Tetiana. "Bust Thymiateria and Cult of Dionysus in Olbia." Archaeology, no. 1 (March 12, 2020): 39–56. http://dx.doi.org/10.15407/archaeologyua2020.01.039.

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Heßler, Jan Erik. "Plato, Hyperides, and Hellenistic Cult Practice." Mnemosyne 71, no. 3 (April 24, 2018): 408–33. http://dx.doi.org/10.1163/1568525x-12342333.

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AbstractThis paper investigates the commemoration of the dead as practised in the Epicurean school: for this purpose, it first discusses the remembrance of the past and of the deceased as constitutive elements of the cult community of the Kepos. The community of the Epicureans is studied in the context of other contemporary associations and Hellenistic ruler cults, and with a view to (possible) connections with the cult of the god Dionysus. In a next step, the paper examines Epicurean testimonies on the subject of commemorating the dead in comparison with passages in Plato and theepitaphioi logoi, especially theepitaphioswritten by Hyperides. This way, some striking parallels emerge, and it becomes evident how deeply Epicurean doctrine and practice were embedded in the context of the late Classical and Hellenistic polis.
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Scolnic, Benjamin Edidin. "The Festival of Dionysus in 2 Macc 6:7b." Journal for the Study of Judaism 49, no. 2 (May 11, 2018): 153–64. http://dx.doi.org/10.1163/15700631-12491200.

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AbstractRecent scholarship has maintained that the Dionysian rites of 2 Macc 6:7b are not historical because evidence of this cult in Seleukid official policy is seen as meager at best. A review of AntiochusIV’s coinage, his procession at Daphne, his designation of Geron the Athenian as enforcer of the imposed cult, and other allusions to promiscuity in the Temple may indicate that this reference to Dionysian practices is at least plausible.
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Burges Watson, Sarah. "MOUSIKÊ AND MYSTERIES: A NIETZSCHEAN READING OF AESCHYLUS’ BASSARIDES." Classical Quarterly 65, no. 2 (October 1, 2015): 455–75. http://dx.doi.org/10.1017/s0009838815000154.

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In chapter 12 of Birth of Tragedy, Nietzsche describes Socrates as the new Orpheus, who rises up against Dionysus and murders tragedy: … in league with Socrates, Euripides dared to be the herald of a new kind of artistic creation. If this caused the older tragedy to perish, then aesthetic Socratism is the murderous principle; but in so far as the fight was directed against the Dionysiac nature of the older art, we may identify Socrates as the opponent of Dionysos, the new Orpheus who rises up against Dionysos and who, although fated to be torn apart by the maenads of the Athenian court of justice, nevertheless forces the great and mighty god himself to flee. As before, when he fled from Lycurgus, King of the Edonians, Dionysos now sought refuge in the depths of the sea, namely in the mystical waters of a secret cult which gradually spread across the entire world. (Trans. R. Speirs) (Cambridge, 1999), 64
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Matveychev, Oleg A. "The Russian Silver Age: Dionysianism Versus Principium Individuationis." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 4 (208) (December 23, 2020): 21–28. http://dx.doi.org/10.18522/2687-0770-2020-4-21-28.

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The article examines the existence, development and historical fate of the famous Nietzschean antithesis “Apollonian and Dionysian” in Russian culture of the late 19th - early 20th century. The author considers reasons for the true triumph of Nietzsche in Russia during the Silver Age and the peculiarities of the reception of his ideas by the Russian intelligentsia. The emphasis in the work is on the ideas of V. Ivanov - the main guide, herald and living embodiment of the idea of Dionysianism in Russia (the works of almost all other authors who addressed this topic were written under his influence). The main stages of the formation of his original concept of the cult of Dionysus, perceived by Ivanov as a primarily a religious phenomenon, are analyzed (the thinker refuses to use the concepts “Apollonian” and “Dionysian” as metaphors to describe a particular cultural reality). Ivanov's most important idea was the presentation of the cult of Dionysus and the “religion of the suffering god” as a “preparation” for Christianity. In the "restoration" of the Dionysian cult, Ivanov sees the way to overcome the crisis of the modern world, based on the principium individuationis.
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Chlup, Radek. "Plutarch's Dualism and the Delphic Cult." Phronesis 45, no. 2 (2000): 138–58. http://dx.doi.org/10.1163/156852800510153.

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AbstractThe article interprets Plutarch's dualism in the light of the Apollo-Dionysus opposition as presented in De E 388e-389c, arguing that Plutarch is no dualist in the strict sense of the word. A comparison of De E 393f-394a with De Iside 369b-d shows that it is only in the sublunary realm of Nature that Plutarch assumes a duality of two distinct Powers; at the higher levels of reality the divine is unified and harmonious. If Plutarch fails to emphasize this point clearly enough, it is because his primary philosophical interests were ethical, not metaphysical.
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Cazden, Joanna. "Dionysus, Demi Moore, and the Cult of the Distresssed Voice." Voice and Speech Review 3, no. 1 (January 2003): 243–46. http://dx.doi.org/10.1080/23268263.2003.10739409.

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Dissertations / Theses on the topic "The cult of Dionysus"

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Koscheski, Jonathan J. "Drunk on new wine : Dionysian transformation and nascent Christianity." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1100.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
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Fox, Tatiana Eileen. "The Cult of Antinous and the Response of the Greek East to Hadrian's Creation of a God." Ohio University Art and Sciences Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors1399414457.

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Chouery, Viviane. "Le culte de Dionysos en Syrie romaine du Ier au IVeme siècle après J. -C." Paris 4, 1997. http://www.theses.fr/1997PA040122.

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Le culte de Dionysos a été introduit en Syrie dès la conquête d’Alexandre le Grand (333 avant J. -C. ), et sa large diffusion dans la région à l'époque hellénistique, était due à ses successeurs, les ptolémées et les séleucides. L'image du dieu conquérant et civilisateur a favorisé la survie de son culte à l'époque romaine, où il a connu un succès sans précèdent. Aux deux premiers siècles après J. -C. , Dionysos a été adoré en Syrie, et particulièrement à Palmyre, comme dieu des morts. Pendant près de quatre siècles, les syriens ont illustré les épisodes du cycle dionysiaque sur divers monuments: monnaies, mosaïques, reliefs, sarcophages et même sur les reliefs architecturaux des édifices publics et religieux, avec des schèmes iconographiques gréco-romains, et parfois locaux. Le grand nombre des représentations bacchiques recensées dans notre corpus montre la popularité de ces thèmes, l'importante place qu'a occupée Dionysos dans le panthéon syrien entre le Ier et le IVème siècle ap. J. -C. , et la survivance de son culte jusqu'à la fin du paganisme. La popularité de Dionysos en Syrie romaine s'explique aussi par le phénomène du syncrétisme religieux qui a eu lieu aux deux premiers siècles après J. -C. , et qui a favorisé son assimilation avec un nombre de dieux indigènes, dieux de la végétation et du renouveau, qui meurent et qui renaissent périodiquement. Dieu mystique, dieu de la vigne et du vin, dispensateur de joie et des plaisirs, dieu du banquet, du théâtre et des spectacles, Bacchus a suscité chez les syriens une grande ferveur religieuse. Enfin, nombreuses sont les sources littéraires qui attestent du culte de Dionysos dans les traditions des villes de la Syrie romaine
The cult of Dionysus was introduced in Syria as early as the conquest of Alexander the Great (333 B. C. ), and its large diffusion in the region at Hellenistic period, has been favored by his successors, the Ptolemes and the Seleucids. The imagery of Dionysus, as civilisator god, favored the survey of the dionysiac cult during the roman period, when it knows a great success. During the two first centuries b. C. , Dionysus has been adored in Syria, and specially in Palmyra, as god of dead persons. Over almost four centuries, the Syrians illustrated the episods of the dionysiac cycle on different monuments: coins, mosaics, reliefs, sarcophagus, and on the architectural reliefs of the public and religious buildings, while following the Greco-Roman, or local schemes. The numerous Bacchic representations grouped in our catalogue, explain the popularity of these themes, the important place that Dionysus occuped in the Syrian pantheon between the first and the fourth centuries a. D. , as well as the survival of his cult until the end of paganism. We can also explain the popularity of Dionysus in roman Syria, through the religious syncretic phenomenon's, which favored, during the two first centuries a. D. , the assimilation of Dionysus with some Syrians gods: gods of vegetation and the revival of the nature, who die and born again periodically. Mystic god, god of vine and wine, god of gladness and pleasure, god of banquet, theatre and spectacles, Bacchus has provoked the devotion of Syrian people's. Finally, numerous are the historic documents which attest the cult of Dionysus in the traditions of roman Syria cities
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Le, Guen Brigitte. "Les associations de technites dionysiaques à l'époque hellénistique /." Nancy : Paris : Association pour la diffusion de la recherche sur l'Antiquité ; diff. de Boccard, 2001. http://catalogue.bnf.fr/ark:/12148/cb37716738t.

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Cuynat, Pascale. "Bacchus et l'imagerie dionysiaque en Gaule du Ier au IVe siècle de notre ère." Paris 4, 1992. http://www.theses.fr/1991PA040196.

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A partir d'un recensement de 1149 représentations dionysiaques, on a mis en évidence la faible place que tenait Bacchus dans le panthéon gallo-romain entre le premier et le quatrième siècle de notre ère. Cette imagerie est introduite en Gaule dès la conquête de la provincia, au premier siècle avant notre ère. Sa large diffusion dans les provinces gauloises a été favorisée par les échanges économiques et sociaux assures par Rome et par les commerçants italiens, en particulier par les negotiatores vinarii. Pendant près de quatre siècles les gallo-romains reproduisent les épisodes du cycle dionysiaque par l'intermédiaire des techniques artisanales les plus variées, en restant fidèles aux schèmes iconographiques gréco-romains. La popularité de ces thèmes au deuxième siècle et leur survivance, s'expliquent par les liens indissociables qui s'étaient établis entre l'image de Bacchus - dieu du vin - et la prospérité des activités vinicoles en Gaule. Bien que présent dans la vie domestique, culturelle, politique, religieuse et funéraire des gallo-romains, Bacchus n'a pas suscité chez eux une grande ferveur religieuse. Seuls quelques hommes d'origine grecque, orientale ou bien danubienne ont eu foi en liber pater. Il apparait à travers cette étude, que les figurations bachiques avaient aux yeux des gallo-romains, un caractère plus prophylactique que spirituel ou mystique
After having recorded 1149 dionysiac representations, the insignificant role played by Bacchus in the gallo-roman pantheon between the first and the fourth centuries a. D. Was inferred. This imagery was introduced in Gaul as early as the conquest of the provincia during the first century b. -c. Its large diffusion in the Gallic provinces has been favoured by the economic and social exchanges settled by Rome and the Italian tradesmen, especially the negotiatores vinarii. Over almost four centuries, the gallo-romans used to illustrate the episodes of the dionysiac cycle through miscellaneous artisanal techniques while following the graeco-roman schemes. The indissociable links that had been connected between the image of Bacchus, the god of wine, and the prosperity of the gaulish wine-explain the prosperity of these themes in the second century, as well as their survival. Though attested in the domestic, cultural, political and funeral life of the gallo-romans, Bacchus has not arisen a great devotion. Only a few people of Greek, oriental or danubian origin did worship liber pater. This study reveals that the bachic representations had for the gallo-romans a more prophylactic than spiritual or mystical character
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Hilmy, H. "Dionysus in The Cantos of Ezra Pound." Thesis, University of Essex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279169.

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Konik, Adrian. "Apollo, Dionysus, dialectical reason and critical cinema." Thesis, University of Port Elizabeth, 2003. http://hdl.handle.net/10948/295.

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The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an Apollonian disposition in Homeric epic. (I maintain that the history of western culture can be understood in terms of the persistent tension between Apollonian and Dionysian dispositions, and I use the distinction Derrida makes in Différance, between restricted and general economies, to distinguish between them, respectively.) I begin by considering the Dionysian echoes within Homer’s Iliad and then consider the way in which they became a ‘roar’ in the tragedies of Aeschylus. After Aeschylus a predominantly Apollonian voice asserted itself once again (to various degrees) through the work of Sophocles and Euripides. This was in keeping with the trend towards a more (Apollonian) restricted economy that is reflected in the writings of Homer’s literary successors, and which reached a crucial stage in Plato’s valorisation of ‘dialectics’, or what I term ‘dialecticis m’, which saw the birth of ‘dialectical language’. Through Plato dialecticism, or dialectical language, became instantiated as the ‘language’ of western philosophy and this predisposed western culture to develop along predominantly Apollonian lines. This continued from Plato, through the Middle Ages, until in the 17th century this Apollonian trend became manifest in the concept of the stable, integral, autonomous and self -transparent Cartesian ego, which is inextricably linked to dialectical language that promises certainty of ‘truth’ and maintains the possibility of representing the world in its entirety (as a system). In the contemporary ‘age of a world picture’, the hegemonic (Apollonian) visual language of mainstream cinema and the mass media propagates and perpetuates the belief in the possibility of representing the world in its entirety through the image, and insofar as it caters to audiences’ needs for stability and certainty (of ‘truth’) through providing such ‘complete’ representations, shapes their subjectivity along the lines of the Cartesian ego. According to Baudrillard, in contemporary society and culture the hyperreal realm of visual language has become far more significant for individuals than their immediate, empirical experiences, and that, as a result, they are far less predisposed to discussion and reflection and far more prone to passive ‘watching’. Also, Adorno maintains that it is impossible to have a form of critical cinema because of the way in which features inherent to cinema predispose it towards being an ideological apparatus. However, if both Baudrillard and Adorno are correct then the future appears increasingly bleak as it involves nothing other than the continuation and propagation of the hegemony of the visual language of mainstream cinema and the mass media, with no possibility for critical resistance. I argue instead that critical cinema is possible because the move towards a more restricted economy, motivated by an Apollonian disposition, did not develop from Homer to the contemporary era without meeting Dionysian resistance. I trace the presence of a subversive Dionysian voice through Homer’s Iliad, through Aeschylus’ Prometheus Bound, and through Plato’s Dialogues, where it echoes in the sentiments of some of Plato’s interlocutors, such as Callicles. In addition, I maintain that a ‘Dionysian’ voice resonates through both Nietzsche’s and Heidegger’s respective criticisms of ‘dialectical language’ and the ‘validity’ of the Cartesian ego. I argue that critical cinema, particularly Aronofsky’s postmodern critical cinema, parallels their similar epistemological and ontological perspectives in the way in which it engages with the (Apollonian) visual language of mainstream cinema and the mass media, and thereby, potentially, facilitates a more porous and protean subjectivity.
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Gill, David. "Greek cult tables /." New York ; London : Garland, 1991. http://catalogue.bnf.fr/ark:/12148/cb35698373x.

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Lada, Ismene. "Initiating Dionysus : ritual and theatre in Aristophanes' Frogs." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357777.

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Huard, Warren. "Hero cult in Pausanias." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=110538.

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The explicit and implicit definitional criteria of cult heroes as described by Pausanias are examined in an attempt to understand heroes in the terms of ancient Greek religion. The distinctions between gods, heroes, and other mortals are examined. Particular attention is paid to the rituals indicated by the verbs enagizein and thyein with a view towards understanding their role in hero cult. It is found that the sacrifice made to heroes distinguishes the one who sacrifices to them from the one who sacrifices to gods and that hero cult plays an important role in the religious life of the polis through its rituals of purification.
Les critères définitionnels des héros de culte, aussi bien implicites qu'explicites, tels qu'ils sont décrits par Pausanias, sont examinés dans une tentative de comprendre les héros du point de vue religieux de la Grèce antique. Les distinctions entre les dieux, les héros, et les autres mortels sont examinés. En particulier, nous nous concentrons sur les verbes enagizein et thyein, indicateurs de rituels, pour mieux comprendre leur rôle dans le culte des héros. Nous trouvons que le sacrifice aux héros distingue ceux qui les font de ceux qui sacrifient aux dieux. À part cela, nous trouvons aussi que le culte des héros est très important dans la vie religieuse de la polis à travers les rituels de purification.
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Books on the topic "The cult of Dionysus"

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I, Ivanov V. Dionis i pradionisiĭstvo. Sankt-Peterburg: Aleteĭi͡a︡, 1994.

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Lekatsas, Panagēs G. Dionysos: Katagōgē kai exelixē tēs Dionysiakēs thrēskeias. 2nd ed. Athēna: Hetaireia Spoudōn Neoellēnikou Politismou kai Genikēs Paideias, 1985.

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Fol, Aleksandŭr. Trakiĭskii͡a︡t Dionis. Sofii͡a︡: Univ. izd-vo "Sv. Kliment Okhridski", 1991.

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Fol, Aleksandur. Der Thrakische Dionysos. Sofia: Universtätsverlag "St. Kliment Ochridski", 1993.

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Ricapito, Giuseppe. Euripide e il dionisismo. Bari: Cacucci, 1988.

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Guazzelli, Teresa. Le antesterie: Liturgie e pratiche simboliche. Firenze: Firenze libri, 1992.

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Dionysos, Bacchus: Kult und Wandlungen des Weingottes. München: Callwey, 1986.

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Håkansson, Carina. In search of Dionysos: Reassessing a Dionysian context in early Rome. Göteborg: University of Gothenburg, 2010.

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Casadio, Giovanni. Storia del culto di Dioniso in Argolide. Roma: GEI, 1994.

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Die Vereine der dionysischen Techniten im Kontext der hellenistischen Gesellschaft: Untersuchungen zur Geschichte, Organisation und Wirkung der hellenistischen Technitenvereine. Stuttgart: Franz Steiner, 2003.

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Book chapters on the topic "The cult of Dionysus"

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Leinieks, Valdis. "The Cult of Dionysos." In The City of Dionysos, 153–75. Wiesbaden: Vieweg+Teubner Verlag, 1996. http://dx.doi.org/10.1007/978-3-663-12402-3_8.

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Rocchi, Maria. "Le Tombeau D'amphion et de Zéthos et les Fruits de Dionysos." In Archaeology and Fertility Cult in the Ancient Mediterranean, 257–66. Amsterdam: B.R. Grüner Publishing Company, 1986. http://dx.doi.org/10.1075/zg.15.26roc.

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Frazer, James George. "Dionysus." In The Golden Bough, 385–92. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-00400-3_43.

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Cole, Susan Guettel. "Finding Dionysus." In A Companion to Greek Religion, 325–41. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996911.ch22.

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Mac Góráin, Fiachra. "Dionysus in Rome." In A Handbook to the Reception of Classical Mythology, 323–36. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781119072034.ch22.

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Laude, Patrick. "Dionysus, Shiva, Osiris." In Divine Play, Sacred Laughter, and Spiritual Understanding, 41–60. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403980588_4.

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Gould, Arthur. "Apollo versus Dionysus." In Developments in Swedish Social Policy, 180–97. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230288270_10.

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May, Keith M. "Apollo and Dionysus." In Nietzsche and the Spirit of Tragedy, 1–26. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-09882-8_1.

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Young, Susan. "Desh and Dionysus." In Creative and Critical Projects in Classroom Music, 249–54. Abingdon, Oxon; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367816179-30.

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"MYSTERY-CULT." In Dionysos, 63–89. Routledge, 2006. http://dx.doi.org/10.4324/9780203358016-14.

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Conference papers on the topic "The cult of Dionysus"

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Gonchikova, Medegma Ts. "Buddist cult musical instruments." In Eurasian paradigm of Russia: values, ideas and experience. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0814-2-135-138.

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Andersen, Kristina. "The deliberate cargo cult." In DIS '14: Designing Interactive Systems Conference 2014. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2598510.2598596.

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Mihali, Adelina Emilia. "Denumiri ale lăcașurilor de cult din Maramureșul istoric." In The Fourth International Conference on Onomastics „Name and Naming”, Sacred and Profane in Onomastics. Editura Mega, Editura Argonaut, 2017. http://dx.doi.org/10.30816/iconn4/2017/74.

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Khuako, Fatimet. "The Cult Of Book In Regulating Self-Perception." In International Scientific Conference «Social and Cultural Transformations in the Context of Modern Globalism» dedicated to the 80th anniversary of Turkayev Hassan Vakhitovich. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.10.05.71.

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Alexeev, Anatoli. "THE CULT OF FIRE IN THE EVENS TRADITIONS." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s8.021.

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BALCIOGLU, Tevfik. "Redesigning Turkish cult objects: from tradition to ‘Modern’?" In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-023.

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Fernaeus, Ylva, Mattias Jacobsson, Sara Ljungblad, and Lars Erik Holmquist. "Are we living in a robot cargo cult?" In the 4th ACM/IEEE international conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1514095.1514175.

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Cimpoi, Mihai. "Folclorul și valorile imaginației." In Conferința științifică națională "Sergiu Moraru: 75 de ani de la naștere". “Bogdan Petriceicua-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/sm.75.2021.02.

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The author demonstrates in this approach that folklore, unlike cult literature, values the essential richness of the imaginary, being closer to the world, which Eminescu said he „ thought in fairy tales and spoke in poetry”. Folklore was must also conceived as literary art, the interference between it and cult literature was the aesthetic program of the German romantics, of the Romanian classics Eminescu, Alecsandri and Anton Pann, of the contemporary authors Brecht and Auden. Folklore works have the same principles of elaboration as cult literature, they being social and documentary documents, which capture essential moments of human relations with society and history. The author refers to the folklorist Sergiu Moraru, who studied especially the poetic system of the sung lyrical song, subjecting it to a structural and typological analysis.
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Tashbaeva, K. "The solar cult represented in petroglyphs of Saymaly-Tash." In Archaeological sites of Southern Siberia and Central Asia: from the appearance of the first herders to the epoch of the establishment of state formations. Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-16-3.133-135.

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Munteanu Siserman, Mihaela, and Sabin Siserman. "Nume de lăcașuri de cult ortodoxe (hramuri) din arealul maramureșean." In The Fourth International Conference on Onomastics „Name and Naming”, Sacred and Profane in Onomastics. Editura Mega, Editura Argonaut, 2017. http://dx.doi.org/10.30816/iconn4/2017/76.

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Reports on the topic "The cult of Dionysus"

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Carter, John R. Airpower and the Cult of the Offensive. Fort Belvoir, VA: Defense Technical Information Center, October 1998. http://dx.doi.org/10.21236/ada378260.

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Tate, Teresa. The Emergence of an Icon: The Frida Kahlo Cult. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2786.

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Kenes, Bulent. QAnon: A Conspiracy Cult or Quasi-Religion of Modern Times? European Center for Populism Studies (ECPS), March 2021. http://dx.doi.org/10.55271/op0007.

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As with ISIL, QAnon’s ideology proliferates through easily-shareable digital content espousing grievances and injustices by “evil oppressors.” To perhaps a greater degree than any comparable movement, QAnon is a product of the social media era which created a perfect storm for it to spread. It was QAnon’s spread onto the mainstream social media platforms—and from there onto the streets—that made this phenomenon into a global concern. Social media platforms, again, aided and abetted QAnon growth by driving vulnerable audiences to their content.
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Pelletiere, Stephen C. Shari'a Law, Cult Violence and System Change in Egypt: The Dilemma Facing President Mubarak. Fort Belvoir, VA: Defense Technical Information Center, April 1994. http://dx.doi.org/10.21236/ada279928.

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Schuler, Mark. Northeast Insulae Project: Context and Analysis. Concordia University, St. Paul, October 2021. http://dx.doi.org/10.54416/gqsx9775.

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This book places the excavation of the northeast insulae at Hippos of the Decapolis, into its historical context, summarizes the archaeological findings, and posits that the site was an urban monastery centered around a healing cult that grew from the veneration of a revered woman and became a monastic infirmary also employing herbals to relieve the suffering in the larger community
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Deeter, Elizabeth. An Analysis of the Literary Manifestations of the Cult of the Virgin Mary in Gonzalo de Berceo's Milagros de Nuestra Senora. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.7122.

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