Search Results (36)

Focusing on the legend of Phaedra and Hippolytus as developed in Euripides and Seneca and especially in Racine’s Phèdre and taking into account as well its further development in works by Camillo Boito, Luchino Visconti, and Yukio Mishima, I make the following arguments: (1) Contrary to many theologians and philosophers of love, a pathological form of love that issues in murder and suicide should not be regarded as unworthy of serious attention. Racine’s tragedy provides a catharsis for universal experiences of unrequited love and jealousy, a major human phenomenon. (2) Contrary to Paul Valéry, Phèdre’s love cannot be called merely animal, since the analytical insight she develops into her morbid passion carries tremendous moral force and lies at the origin of the European psychological novel, as launched by Madame de La Fayette a year later. (3) Contrary to François Mauriac, even if she is a heroine of desire or concupiscence rather than of “true love” (in contrast to the relatively innocent affections of Hippolyte and Aricie), the incredible beauty of her language resists such an easy categorization. (4) Study of concrete presentations of “love” in literature confirms that the meaning and use of this word is marked by an irreducible pluralism. Philosophical and theological analysis of love has to come to terms with this. (5) The role of a work of art, in crystallizing archetypical emotions and situations in a way that carries authority, is to provide the middle ground between the abstractions of philosophy on the one hand and the uncontrollable diversity of the empirical on the other. Even psychologies or sociologies of love, which claim to be close to the concrete data, need to be anchored in and corrected by the special concrete vision that only great literature can bring. Full article

The first book of Kings succinctly evokes—in only thirteen verses—the mysterious figure of a queen who came from the distant land of Sheba to test Solomon’s wisdom (1 Kgs 10.1–13). Who would have predicted that this modest episode celebrating the glory of the ancient kings of Jerusalem would be so popular? The episode has spread far beyond the boundaries of the two Testaments, notably in painting. Piero della Francesca’s fresco cycle in Arezzo is a fine example in this respect. Inspired by the Golden Legend, the Florentine painter recreates the scenes of the discovery of the true Cross. Solomon and the Queen of Sheba meet against the backdrop of the fall of Constantinople in 1453. Whether intra- or extra-biblical, ancient or modern, rereading of the original episode reveals issues that are as much historical as they are theological. Full article

Beginning in the 13th century, rivalry among Italian city-states intensified, transforming cultural competition into a strategic tool for asserting identity. Roman heritage was often contested, with cities emphasising their claims as the true heirs of Rome. Siena has faced criticism for its lack of major historical sites. In response, its municipal authorities and citizens developed the legends of the “she-wolf” and Saint Ansanus. These legends reinforced Siena’s urban identity through historical narratives and public art. During the Renaissance, Siena redefined its history to assert its legitimacy by drawing on classical culture. This re-articulation of identity addressed historical rivalries and revealed the enduring complexity of local identity formation in Italy. This study examines historical legends and uses historical materials, such as city archives and artworks, to research the Italian city of Siena during the Renaissance and to investigate the origins of urban legends, their controversies, and how Siena created the legends of the “she-wolf” and Saint Ansanus. Full article

The enigmatic major eruption in the late 16th century, believed to have originated from Raung, the most active stratovolcano in the Ijen UNESCO Global Geopark in East Java, Indonesia, has ignited significant debate among researchers and historians due to its profound impact on the region. This research aims to substantiate Raung as the likely source of the major eruption by integrating geological, archaeological, and historical data. This study synthesizes current findings and explores ongoing debates surrounding historical volcanic activities. Eruption parameters suggest that the late 16th century eruption exhibited a Plinian type, characterized by an explosive eruption column reaching the stratosphere, widespread pumiceous tephra fallout, and pyroclastic density current (PDC). Stratigraphic succession reveals that the eruption occurred in five phases, with deposits from 10 eruptive units. These deposits are mainly concentrated on the northwestern flank of Raung. Archaeological findings, historical records, and local legends converge to pinpoint the occurrence of this catastrophic event in the late 16th century. These diverse sources estimate that the eruption resulted in approximately 10,000 casualties, marking it as one of the most significant volcanic disasters in the past 500 years. The implications of this eruption extend beyond historical documentation, providing a critical case study for advancing disaster mitigation strategies through geotourism in the geopark area. Moreover, the eruption record outcrops identified in this study can be proposed as potential new geosites within the Ijen UNESCO Global Geopark, enhancing its educational and touristic value. We propose the Jebung Kidul, Alas Sumur, and Batu Sappar sites as potential disaster-based geosites, considering that these sites record the eruption process and preserve archaeological structures. This addition would not only commemorate the historical event but also promote awareness and preparedness for future volcanic activities in the region. Full article

This paper examines legends on the origins (aetiologies) of places and placenames in Benjamin of Tudela’s travel account. Origin stories are prevalent in medieval travelogues, but Hebrew travel accounts employ a unique form that is embedded in placenames. Midrash Shem (מדרש שם), as this form is known in Jewish tradition, is the homiletical interpretation of names, typically characterized in some measure by wordplay. I suggest that these legends and placenames serve Hebrew travel literature both as an evidential tool and as an artistic means of expression, contributing to the construction of “known” and “foreign” lands and peoples, and consequently to the formulation of group identities. En route to the foreign and unknown, yet “own”, holy Eretz Yisrael, Benjamin of Tudela encounters Jewish communities and records a variety of aetiologies throughout the Middle East. In retelling the origins of the travelled landscape, he transmits local mythical, theological and historical content as well as particular Jewish-diasporic socio-political realities. Diversely told origins of Roman architecture, scattered across most of Benjamin’s account, show how these local traditions varied. Some aetiologies fuse traditional with foreign content to affirm a sense of belonging under foreign rule, while others actively undermine established non-Jewish narratives or even oppose competing Jewish narratives. Full article

The Daitokuji Old Collection’s 500 Luohans Paintings 五百羅漢圖, painted by Southern Song Mingzhou 明州 artists Lin Tinggui 林庭珪 and Zhou Jichang 周季常, have become a focal point in recent studies on the Chinese Buddhist material culture of the Song Dynasty. Among the 500 Luohans series, five paintings are related to the ancient Indian legend of Emperor Aśoka’s creation of 84,000 stupas. These paintings include “Building a Stupa” (No.78), “King Aśoka Stupa Emitting Light” (No.79), “Precious Stupa on the Rock” (No.80), and “Miracle of Light-Emitting Relics” (No.81), which are currently housed in the Daitokuji 大德寺 in Kyoto, Japan, and “Luohans Watching the Relics’ Light” (B5), which is housed in the Museum of Fine Arts in Boston, the US. However, the way in which the “King Aśoka Stupa” 阿育王塔 and “Relics’ Light” 舍利光 series were integrated into the overall visual narrative of the 500 Luohans in the Daitokuji and Boston collections, as well as the profound meanings and social-cultural contexts embedded in these images, have been rarely studied in depth. The introduction of the miraculous relics theme into the Daitokuji Old Collection’s 500 Luohans Paintings originates from an earlier version by the monk Fa Neng. However, Fa Neng’s version recorded by the Northern Song literati Qin Guan 秦觀 does not mention the King Aśoka Stupa. The artists had considerable freedom in depicting miraculous relic phenomena and King Aśoka Stupa. The specific details of King Aśoka Stupa’s background in Tiantai Mountain 天台山, such as rock bridges, waterfalls, and rock caves, as well as the craftsmanship of King Aśoka Stupa, reflect particular contemporary ideas. The vivid depictions of the “King Aśoka Stupa” and “Relics’ Light” in the Daitokuji Present Collection and the Boston Collection of the 500 Luohans may indicate a close connection between the creation of these images and the fervent Relics Worship at King Aśoka Temple 阿育王寺 in Mingzhou during Southern Song. This paper synthesizes these images, ancient Chinese and Japanese manuscripts, and fieldwork insights to interpret the sources and significance of these images. Full article

“Rejoice, Texandria, for Oda!” Thus begins the series of chants and readings commemorating the virgin St Oda, patron of the village that took her name—Sint-Oedenrode—in the late medieval liturgy of the town of ’s-Hertogenbosch. Overt praise for the surrounding region, Texandria, extending across the northern limits of the duchy of Brabant and diocese of Liège, is a recurring theme in the liturgy inspired by the saint’s legend. Yet how did Oda, of Scottish origin, become so closely associated with this remote region? And what was the significance of her liturgical veneration in ’s-Hertogenbosch, to which Sint-Oedenrode was enfranchised? Exemplifying interactions between central and secondary places within a specific region, this study argues for the relevance of the historical approach to urban–rural dynamics in medieval hagiography and its related liturgy. Recognition that smaller towns and villages played important roles in regional networks prompts more focused attention to regional priorities in the legends and liturgies of local saints. That Oda’s cult is attested by a diversity of extant documentary evidence—historical, hagiographic, and liturgical, including newly discovered liturgical readings—facilitates interpretation of her veneration in ’s-Hertogenbosch and of the intertextual connections between her legend and those of other saints, notably Lambert, associated with the duchy and diocese. As suggested by this example, regionalism merits greater scrutiny as an integral component of civic religion. Full article

This article focuses on the influence of Western progressive rock music on some innovative members of the Union of Soviet Composers, who were open to new trends and influences. These Soviet composers’ interest in progressive rock was not only intellectual, but also had serious practical implications. During the 1970s, several composers made attempts to create original works following various styles of prog rock. Occasionally, they incorporated elements of prog rock into their otherwise experimental compositions. One can see the influences of prog rock in the works of prominent composers such as A. Pärt, S. Gubaidulina, V. Martynov, V. Silvestrov, V. Artemiev, G. Kancheli, and A. Schnittke. After discussing the development of the prog rock tradition in the USSR and dwelling on the peculiarities of prog rock as a genre, I focus on three works created by Soviet composers under the influence of prog traditions: the 4th Symphony for orchestra and rhythm section by Latvian composer Imants Kalniņš, which follows the traditions of symphonic rock; an avant-garde rock opera titled “Flemish Legend” by Leningrader Romuald Grinblat, written to the lyrics by dissident bard Yulii Kim and heavily influenced by the twelve-tone system; and a suite of art-rock songs titled “On the Wave of My Memory” composed by pop composer David Tukhmanov, based on the poems of poets with a “decadent” reputation in the Soviet ideological context. All of these composers had to create within the Soviet ideological restrictions on modern and rock music, in particular, and all of them had to engage in their own trickster-like antics to produce and perform their works. Although they are little remembered today, these works stand as unexpected and singular achievements of Soviet composers during complex times. Full article

Every year around 200,000 Māyāmārā Vaiṣṇavas congregate in a small village in Mājulī, Assam, India, for the annual śevā, or worship service, to Ājali Āi, a 16th-century female figure. She was the mother of Sri Sri Aniruddhadeva, the founder of Māyāmārā Vaiṣṇavism, a religious sect originating in medieval Assam that experienced royal persecution and ethnic cleansing. Among contemporary Māyāmārā Vaiṣṇavas, veneration of Ājali Āi as the mother of the founding Guru has become popular, which is somewhat puzzling since historical information about her life is scarce. Nevertheless, as Guru-Mā, Ājali Āi today has become a symbol of holiness in Māyāmārā society with community members attributing to her mahimā, translated as a divine agency, mysterious glory, or supremacy. Guru-riṇ and Mātri-ṛin, categories that are a part of the Vaiṣṇava and the larger Hindu canon, can generally explain the holiness accorded to the mother of the Guru. In the case of the Māyāmārā Vaiṣṇavas, however, they are not sufficient to explain the power in the form of mahimā that the community ascribes to her in the present day to the degree of attributing to her the power to grant wishes. This exploratory chapter argues for a systems approach to understand the phenomenon of the mahimā of Ājali Āi in contemporary Māyāmārā society. The chapter finds that socio-economic and political forces interacted with extant legends around Ājali Āi and ideas around Āi as Devi and mother in complex ways to create the community’s contemporary understanding of Ājali Āi as a holy and loving maternal figure with mahimā—one who keeps a watchful and nurturing eye over the community and grants the wishes of ardent devotees. Full article

This article examines the historical background of “Laozi huahu 老子化胡” (Laozi converting the barbarians) and investigates its generation mode and constituent elements. It also discusses and reflects on issues such as the origin of “huahu” and Laozi’s deification. The origin of “Laozi huahu” has little relationship to issues such as the divine system in the Han dynasty and Laozi’s deification. Its elements are rooted in Chinese secular ideological resources. The story of “heroes moving across borders” during the Spring and Autumn and Warring States periods, along with the notion of Laozi as the universal teacher for disciples of various schools, gave birth to the saying. An analysis of the historical background suggests that the origin of “huahu” had likely gone through a long evolutionary process, including an undocumented period where it was transmitted orally as a legend. Full article

Geotourism is a concept that is expanding rapidly throughout the world without exception, given its versatility to value the elements of geodiversity and geoheritage; landscape elements without an apparent use or benefit usually find in geotourism a window that can exploit unsuspected conditions. Culebrillas Lagoon, located in the southern center of the Ecuadorian Andes, represents a hydrographic unit of glacio–lacustrine origin as a typical hidden place that conceals a valuable geotourism potential. Culebrillas is marked by a series of fluvio–glacial morphologies, whose forms hide an important cultural heritage expressed in its festivities, myths, and legends which have been celebrated through the centuries. Inca and Cañari civilizations have been, in the past and present, the original groups that inhabited this sector, and important vestiges of their presence are still evident, as in the case of the Qhapaq Ñan or the Inca road system. The present investigation allowed the generating of information about elements of geoheritage and other related resources that have various potential uses, and which highlight the intrinsic values present in this area, complementing each other from a holistic socio–environmental and geotourism perspective. Full article

The legend of Empress Jingū’s conquest of the Korean peninsula is well-known for its many divine elements. However, the legend’s successful conquest of a foreign enemy has also been key to its longevity. In particular, the Mongol Invasions of the late thirteenth century inspired a renaissance of the Jingū legend in the fourteenth, with the addition of several new motifs. One such motif is Jinrin, a red demon with multiple heads and immense power from the continent who threatens Japan before being slain by Jingū’s husband Emperor Chūai. In this paper, I argue that the Jinrin motif plays an important role in reenvisioning Jingū’s conquest as a war against evil. Though Jinrin may have antecedents in the Buddhist Canon and Japanese mythology, this “fierce god” emerges in the medieval Hachiman tradition in origin narratives and later in regional kagura. Jinrin serves as a visual representation of the threat of the Korean kingdoms and an opportunity for Chūai’s heroism and honorable death, creating a clear juxtaposition between a depraved Korean peninsula and an ethical Japan. Thus, Jinrin provides a vibrant example of how the belief in Japan as land of the gods (shinkoku shisō) galvanized a reinterpretation of Japan, its world, and its history. Full article