My thesis work explores the spiritual embodiments of 21st century culture by creating a set/series of sights, sounds and other sensory experiences that are symbolically representative of a new pantheon called The Neoterics and its mythology. It examines the human quest for stability (survival, community, and mental/physical/ financial stability) in a world of constant change. The exhibition introduces the six members of the pantheon as the embodiments of the primitive or basic needs, contemporary wants, and future desires of humanity, at least from the perspective of Westernized culture. This paper looks at mythology’s role in the 21st century. It examines the artistic process of creating and representing mythological entities in the gallery and museum space. It peers through the lenses of the literary theory of ‘carrier bag fiction’ and the theory of the artistic gifts in relationship to the exhibition. Finally concluding with where this new mythology might go as it expands and grows in the future.

Im Zusammenhang mit Architekturrezeption wird in der deutschsprachigen Literatur oft das Wort ‚Zitat‘ verwendet. So zahlreich dieser Terminus benutzt wird, so zahlreich sind die Bedeutungen, die dem Wort ‚Zitat‘ in den Texten jeweils hinterlegt werden. Diese unpräzise Verwendung, gerade in fachlichen Publikationen, ist unbefriedigend und fragwürdig. Diese Arbeit untersucht, welche Bedeutung dem Wort ‚Zitat‘ eigentlich zukommt. Dazu ist es notwendig, das Phänomen des Wiedererkennens einer Architektur in einer anderen in den Blick zu nehmen. Auf dieser Grundlage können die üblicherweise verwendeten Termini danach befragt werden, welche von ihnen das Phänomen am präzisesten zur Sprache bringen. Diese Untersuchung am Wort wird anschließend an konkreter Architektur, dem Pantheon in Rom und seinen Rezeptionen, überprüft. Das Phänomen, dass in einer Rezeption das Pantheon wiederzuerkennen ist, gründet auf definierbaren Merkmalen, die das Vorbild mit seinen Rezeptionen verbinden. Der systematische Vergleich dieser Merkmale zeigt ein hohes Maß an freier Auswahl und freier Gestaltung. Zugleich zeigen sich zeitliche und regionale Schwerpunkte. Dieser Befund bestätigt die Termini, die bereits bei der Untersuchung am Wort das Phänomen des Wiedererkennens am präzisesten zur Sprache bringen konnten.

O presente trabalho pretende levantar e discutir, a partir de questões sobre a religiosidade provincial no alto império romano, os pilares, \"colunas de Júpiter\" e outros tipos de vestígios correlacionados. O interesse e estudo desses monumentos pela historiografia do século XIX estabeleceram um topos, em uso até hoje, que direciona as interpretações arqueológicas e religiosas das Gálias Romanas. Tendo como pressupostos teóricos os debates pós-contemporâneos e pós-coloniais e com o intuito de compreender as devoções e os cultos, foi realizada uma série de análises, com destaque para as de natureza iconográfica. / Starting from issues about the provincial religiosity in the high Roman Empire, this work aims at raising and discussing the pillars, \"Jupiter columns\" and other types of correlated vestiges. The interest arisen by these monuments and their study by the bibliography of the XIX century established a \"topos\" still in use, which gives directions to the Gallic Roman archaeological and religious interpretations. With the theoretical assumptions of the post-contemporary debates and post-colonial theories and in order to understand the devotions and worship services, a series of analysis was made, with special emphasis on an iconographic approach.

The hero and the image of nationalism in Colombia, The sculptures at "Parque del Centenario" (1883-1958). The main objective of this master thesis is to analyze and determine the relationship between the construction of the pantheon of heroes1 in Colombia and the attempt to consolidate a national identity in the late nineteenth century and early twentieth century. This problem is analyzed through a case study that focuses on a specific public space in Bogotá: "El Parque del Centenario". This space was built in 1883 for commemoration of the 100th anniversary of Simon Bolivar's birthdate. The research was conducted as an analysis that puts on dialogue different kinds of historical sources. Therefore, the use of images representing the monuments; maps and plans of the park and the city were; but above all, the main sources of analysis are newspapers and magazines which circulated between 1880 and 1958. The analysis of this case study is presented as a historical narrative that aims to provide relevant information about the construction and development of this public space. This text is divided into three chapters that chronologically follow the progress of the park. The first chapter covers the period between 1883 and 1910. This section focuses on the celebration of the centenary of Bolívar's birth. There will...

O presente trabalho pretende levantar e discutir, a partir de questões sobre a religiosidade provincial no alto império romano, os pilares, \"colunas de Júpiter\" e outros tipos de vestígios correlacionados. O interesse e estudo desses monumentos pela historiografia do século XIX estabeleceram um topos, em uso até hoje, que direciona as interpretações arqueológicas e religiosas das Gálias Romanas. Tendo como pressupostos teóricos os debates pós-contemporâneos e pós-coloniais e com o intuito de compreender as devoções e os cultos, foi realizada uma série de análises, com destaque para as de natureza iconográfica. / Starting from issues about the provincial religiosity in the high Roman Empire, this work aims at raising and discussing the pillars, \"Jupiter columns\" and other types of correlated vestiges. The interest arisen by these monuments and their study by the bibliography of the XIX century established a \"topos\" still in use, which gives directions to the Gallic Roman archaeological and religious interpretations. With the theoretical assumptions of the post-contemporary debates and post-colonial theories and in order to understand the devotions and worship services, a series of analysis was made, with special emphasis on an iconographic approach.

Jiří Dynda Gods and Demons: The Construction of the Slavic Paganism in the Medieval Textual Sources PhD Thesis, Faculty of Arts, Charles University Abstract The thesis focuses on the analysis of ways of discursive construction of Slavic paganism in medieval written sources. Three chapters attempt to answer the basic research question: how are the elements of Slavic paganism (and especially its concept of divinity) described before; shortly after; and long after Christianization. In other words, how paganism was portrayed as an active external enemy, as a defeated enemy, and as an internal enemy of medieval Christianity. The discourses analysis is applied to more than a dozen case studies of specific sources or their groups. These written sources are analysed also in comparison with other textual, archaeological and ethnographic sources. By thorough identification of several discursive strategies (idolatric, demonological, ortho-practical, euhemeristic and Graeco- Roman interpretation) in the sources the thesis is directed towards a detailed knowledge of the specifics of the Christian perspective (interpretatio Christiana) on the Slavic pagan religions. Thus, the thesis contributes to the possibilities of their understanding. In particular, the concept of divinity in functioning pagan societies in comparison...

The ancient Greeks are prime subjects of study for those wishing to understand the roles that religion and mythology play in a society and how the two interact with each other. This paper covers what I feel after my study of Greek mythology and religion are the eight functions of mythology: history, education, explanation - both of the natural world and the culture of each society, legality, genesis, what happens after death, and entertainment; as well as the two function of religion: civic and spiritual. In the first chapter, in order to show each of the mythological functions, I summarize and explain a myth that falls primarily into each category. The second chapter discusses and illustrates Civic Religion and the third examines the three major Mystery Religions. The goal is to offer a basic understand of some of the myths, religious beliefs, and cult practices of the ancient Greeks.

The purpose of the present work is to evaluate the role of the god Thoth in the Ancient Egyptian Pyramid Texts, a corpus of funerary literature found most prominently in the underground chambers of the pyramids of the kings and queens of the 5th and 6th dynasty. Following the division made by H. M. Hays, the topic is treated in two parts: the first is concerned with Thoth in the personal texts, where he is presented as a lunar deity and a transition figure, the second with the sacerdotal texts, studying his position in the myth of Osiris and Horus. The function of the god in both is shown to stem from his role as a mediator betwen the various elements of the divine world, mainly through a number of particular findings with regard to the individual motifs in which Thoth is found in the Pyramid Texts. The work concludes with a summary of these findings and an outline of Thoth's nature in the corpus.

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

Maurice Barrès, en tant qu’un des plus grands maîtres à la fin du XIXe siècle et au début du XXe siècle de la France, exerce une grande influence dans la société française. Souvent réduit par la critique d’aujourd’hui au nationalisme, Barrès est cependant plus riche que ce que l’histoire en a retenu puisque sa pensée peut elle-même se décrire comme une trilogie, individualisme, nationalisme, catholicisme. Né dans une famille catholique, il conserve ses racines religieuses et dans son oeuvre, la présence de la religion est partout. Nous pourrions même affirmer que l’œuvre de Maurice Barrès est un exercice spirituel pour connaître la vérité : ses œuvres sont comme des expériences qui vont au bout du compte l’amener vers Dieu. Après l’individualisme et le nationalisme, l’écrivain trouve la voie de son salut dans le catholicisme. La pensée religieuse de Barrès occupe une grande place dans son œuvre, et cet aspect ne doit pas être négligé si l’on veut comprendre le grand écrivain. C’est un sujet riche et intéressant, qui mérite d’être exploité et étudié. De plus, sa pensée est tellement particulière que Barrès, lui-même, s’interroge dans un cahier : « Suis-je croyant ? Suis-je athée ? » Alors, cette étude présente tente à éclaircir la pensée religieuse du grand maître dans une période historique de la France. Et cette période si riche sur le plan des événements intellectuels permet aussi de comprendre mieux la France contemporaine, qui se saisit aujourd’hui à nouveau de mots comme « terre », « racine », « identité », etc. / As one of the greatest writers in the late XIXth and early XXth century in France, Maurice Barrès has greatly influenced the French society. Often reduced to nationalism by critics, however, Barrès is much richer than what history has withheld, since his thoughts could be described as a trilogy : individualism, nationalism and Catholicism. Born in a Catholic family, he retains his religious roots and the religion is clearly omnipresent in his works. The works of Maurice Barrès could be considered as the spiritual exercises and experiences that will ultimately bring him to the Supreme Being - God. After individualism and nationalism, the writer finds his own way of salvation in Catholicism. The religion occupies a large place in the works of Barrès. Nevertheless, this aspect should not be overlooked if we want to better understand his thoughts. The religious thought of Barrès is a rich and interesting topic that deserves to be studied and exploited. His thought is so special in the sense that Barrès questions his beliefs; he says in his personal diary : “Am I a believer ? Am I an atheist ?” This present study attempts to explain the religious thought of the great master during a specific period of French history. This period, which is very rich in terms of intellectual events, enables us to have a better view of contemporary France and the new acceptance of words such as “earth”, “root”, “identity”, etc.