Relevant bibliographies by topics / Neoplatonism in hymns

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Academic literature on the topic 'Neoplatonism in hymns'

Author: Grafiati
Published: 15 March 2025

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Journal articles on the topic "Neoplatonism in hymns"

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Timotin, Andrei. "A Hymn to God Assigned to Gregory of Nazianzus and Its Neoplatonic Context." International Journal of the Platonic Tradition 12, no. 1 (2018): 39–50. http://dx.doi.org/10.1163/18725473-12341396.

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AbstractThe paper deals with an anonymous Hymn to God, which is attributed to Gregory of Nazianzus by some authors, but was most probably composed by a Christian Neoplatonist such as Pseudo-Dionysius the Areopagite. The paper explores the hymn’s relation to Neoplatonic theories of prayer and shows that these affinities are broader in scope than has previously been recognised. Some Pagan and Christian Neoplatonists, including the author of the Hymn to God, seem to have shared the idea of a cosmic prayer by which all beings tend towards God, a prayer founded on the knowledge of the ‘signatures’
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Osek, Ewa. "Hymny Proklosa: filozofia i kult." Vox Patrum 59 (January 25, 2013): 487–530. http://dx.doi.org/10.31743/vp.4055.

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The present paper consists of the introduction to the Neoplatonic and Chaldean systems, the first Polish translation of seven extant Hymns by Proclus (AD 412- 485), and the commentaries on each of them. This essay is a polemic against the well-known book by R.M. Van den Berg entitled Proclus’ Hymns (Leiden 2001, Brill), which shows, above all, the Chaldean influences (cf. The Chaldean Oracles, ed. R. Majercik, Leiden 1989, Brill). I has argued that the philosopher used much more literary patterns than the Chaldean Oracles to illustrate the Neoplatonic „oecumenism” (an expression of P. Athanass
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Ramachandran, Ayesha. "Edmund Spenser, Lucretian Neoplatonist: Cosmology in the Fowre Hymnes." Spenser Studies 24 (June 2009): 373–411. http://dx.doi.org/10.7756/spst.024.011.373-411.

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Kutash, Emilie. "Myth, Allegory and Inspired Symbolism in Early and Late Antique Platonism." International Journal of the Platonic Tradition 14, no. 2 (2020): 128–52. http://dx.doi.org/10.1163/18725473-bja10002.

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Abstract The idea that mythos and logos are incompatible, and that truth is a product of scientific and dialectical thinking, was certainly disproven by later Platonic philosophers. Deploying the works of Hesiod and Homer, Homeric Hymns and other such literature, they considered myth a valuable and significant augment to philosophical discourse. Plato’s denigration of myth gave his followers an incentive to read myth as allegory. The Stoics and first-century philosophers such as Philo, treated allegory as a legitimate interpretive strategy. The Middle Platonists incorporated myth, for example,
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Syrtsova, Olena. "Corpus Areopagiticum: the question of its dependence from Proclus, the hypothesis of Synesius’ authorship, and philosophical terminology of Slavic translations." Sententiae 41, no. 2 (2022): 6–23. http://dx.doi.org/10.31649/sent41.02.006.

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The study of the peculiarities that the reception of such an essential concept of the philosophical Corpus Dionysiacum Areopagiticum as ὑπερούσιος in ancient Slavic translations has is promising. It allows not only to understand better the internal perspective of the development of philosophical terminology in Rus’-Ukraine, where in the 15th–17th centuries, there existed a significant number of manuscripts of the corpus, but also to strengthen the argument in favor of its dating precisely in the 5th century.
 According to the conceptual features that are present in the Greek text of De di
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Clark, Dennis. "Iamblichus' Egyptian Neoplatonic Theology in De Mysteriis." International Journal of the Platonic Tradition 2, no. 2 (2008): 164–205. http://dx.doi.org/10.1163/187254708x282358.

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AbstractIn De Mysteriis VIII Iamblichus gives two orderings of first principles, one in purely Neoplatonic terms drawn from his own philosophical system, and the other in the form of several Egyptian gods, glossed with Neoplatonic language again taken from his own system. The first ordering or taxis includes the Simple One and the One Existent, two of the elements of Iamblichus' realm of the One. The second taxis includes the Egyptian (H)eikton, which has now been identified with the god of magic, Heka, glossed as the One Existent. The Egyptian god Kmeph is also a member of this taxis, and is
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Haskell, Yasmin. "The Tristia of a Greek refugee: Michael Marullus and the politics of Latin subjectivity after the fall of Constantinople (1453)." Proceedings of the Cambridge Philological Society 44 (1999): 110–36. http://dx.doi.org/10.1017/s0068673500002236.

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Almost everything we know of Michael Marullus – Greek exile, Neoplatonist, mercenary soldier – is mediated by his poetry, much of which seems positively to invite biographical decoding. The poet tells us he was conceived in the year Constantinople fell to the Turks (1453), after which his family fled, via Ragusa (modern Dubrovnik), to Italy. Here he grew up under the Iliadae … tecta Remi (Siena?), received an excellent education, and from an early age was frequenting the humanist academy of Giovanni Pontano at Naples. Marullus reports that when just seventeen, fate tore him away from his studi
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Hilton, John. "Nature and the supernatural: the hereditary allegiance of the Emperor Julian to Helios." Acta Classica 66, no. 1 (2023): 80–109. http://dx.doi.org/10.1353/acl.2023.a914048.

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ABSTRACT: The Emperor Julian and Heliodorus, the author of the Aethiopica , both claimed descent from Helios, the supreme god of Neoplatonic philosophy in Late Antiquity, to whom many of Julian's ancestors, most notably Constantius Chlorus, also professed devotion. In his Hymn to King Helios , the emperor claimed to have private proofs of this that he did not wish to make public, but which appear to have had nothing to do with the taboo on divulging the mysteries of Mithras. There is a wide range of suggestive evidence in the historical record, from the hostile post-mortem testimony of Gregory
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Петров, Валерий Валентинович. "Sermon on Silence and Regeneration from the : Its Sources and Background." Платоновские исследования 1, no. 14 (2021): 54–77. http://dx.doi.org/10.25985/pi.14.1.03.

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В статье обсуждаются доктринальные аспекты речи апостола Петра из апокрифического «Мученичества апостола Петра» (МП). Посредством анализа схожих концепций поздней античности и раннего христианства проясняется смысл центрального тезиса МП о том, что Богу следует приносить благодарение (εὐχαριστία) не телесным образом, но «посредством безмолвия». Приводятся параллели к учению о безмолвном гимне и молитве из гностицизма, герметизма, неоплатонизма. Обсуждается возможный смысл формулы «глас Божий (ἦχος τοῦ θεοῦ)», приложенный к Богу Слову. Речь Петра на кресте помещена в контекст позднеантичных тра
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Тимур Аркадьевич, Щукин. "Читали ли «Халдейские оракулы» в x веке? Свидетельство Симеона Нового Богослова". Платоновские исследования 2, № 21(21) (2024): 173–99. https://doi.org/10.25985/pi.21.2.08.

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Статья посвящена выявлению источников учения, которое Симеон Новый Богослов, мистик конца x — начала xi вв., приписывает своим оппонентам в 1-м гимне. Элементы этого учения следующие: (1) бытие имеет трехчастную структуру; (2) душа после смерти сохраняет какой-то элемент земного, материальнотелесного естества; (3) свое восхождение к Богу она совершает только после смерти; (4) это движение имеет свой предел — душа останавливается посередине пути между тьмой и светом, будучи не способна преодолеть «бездну», пролегающую между небесным и земным мирами. На взгляд автора, все элементы этого учения с
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Dissertations / Theses on the topic "Neoplatonism in hymns"

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Sierra, Sophie. "Οppοsitiοn et cοnciliatiοn dans les "Ηymnes" de Rοnsard". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMR122.

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De 1549 à 1584, Ronsard écrit des hymnes d’une grande variété formelle et thématique. Le poète y développe des récits mythologiques ou allégoriques, évoque les guerres contemporaines, pratique l’éloge, tout en respectant une posture d’orant qui tente de restaurer les liens entre humanité et divinité. Ce simple constat peut justifier de réfléchir sur les hymnes à partir du couple notionnel « opposition et conciliation ». Notre étude, fondée sur des analyses narratologiques, stylistiques et rhétoriques, vise à comprendre comment la poétique du conflit contribue à rendre compte de la conception d
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Books on the topic "Neoplatonism in hymns"

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Zavota, Gina, ed. Legacy of Neoplatonic Philosophy. Bloomsbury Publishing Plc, 2024. https://doi.org/10.5040/9781350379145.

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Bringing together leading scholars from philosophy, architecture, history, classics, and art history, this volume asks: what are the key concepts in Neoplatonic aesthetics? And what impact has Neoplatonic philosophy had on the arts since the 3rd century CE? Organized into three parts, in part I four authors examine the theory behind Neoplatonic aesthetics, including in particular the philosophy of beauty, ornament, and the artistic imagination. Based on the thought of Plato, Neoplatonism incorporated influences from Aristotle, Stoicism, and a variety of other philosophical traditions to create
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Sonne, Kosmos, Rom: Kaiser Julian, Hymnos Auf Den Konig Helios. Mohr Siebrek Ek, 2022.

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Book chapters on the topic "Neoplatonism in hymns"

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Meisner, Dwayne A. "Introducing Orphic Theogonies." In Orphic Traditions and the Birth of the Gods. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190663520.003.0001.

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The first chapter begins with a general introduction to the topic of Orphic legend, ritual, and literature, along with the history of scholarship on Orphism, and the methods to be employed in this book for the study of four Orphic theogonies: Derveni, Eudemian, Hieronyman, and Rhapsodic. In the second section, the Orphic theogonies are placed in the wider context of ancient Near Eastern and Greek theogonic narratives. The third section analyzes the generic distinctions between theogonies and hymns and argues that Orphic theogonies have features of both, suggesting that the term “theogonic hymn” is the best way of describing their generic function. The fourth section argues that Orphic theogonies were a meeting point between the discourses of myth and philosophy. Some fragments of Orphic poetry appear to contain philosophical ideas, while prose philosophers, from the Presocratics to the Neoplatonists, regularly referred to Orphic poems.
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Capra, Andrea, and Barbara Graziosi. "The Neoplatonists by Aristaeus of Megara." In Classics, Love, Revolution. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198865445.003.0009.

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Abstract In his ‘translator’s preface’, Settembrini warns readers about the obscenity of the upcoming tale and criticizes modern hypocrisy: ‘Platonic love’ was invented to hide affairs between men. In ch. 1, two boys (true ‘neoplatonists’, i.e. young followers of Plato) grow up loving each other. In ch. 2 they teach their Platonic teacher a lesson in equality and reciprocity—in a hilarious scene of sexe à trois; then meet the lovely Hymnis, discover heterosexuality (ch. 3), learn more about her (ch. 4), and about how to pleasure a woman without demanding what ‘brings no advantage to her’ (ch. 5). In ch. 6, Hymnis bids farewell to them and one boy falls in love with another girl. In ch. 7, both demonstrate their valour in war. In ch. 8, they get married, ‘love and honour’ their wives, while continuing to love each other and have sex together, in a lifelong bisexual arrangement.
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Helmig, Christoph. "Neoplatonic Motifs in Emperor Julian’s Hymn to the Mother of the Gods." In Women and the Female in Neoplatonism. BRILL, 2022. http://dx.doi.org/10.1163/9789004517646_012.

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Meisner, Dwayne A. "The Rhapsodies." In Orphic Traditions and the Birth of the Gods. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190663520.003.0005.

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After introducing general matters concerning the Rhapsodies in the first section, this chapter questions in the second section Radcliffe Edmonds’ argument that the Rhapsodies were not a continuous Rhapsodic theogony but a Rhapsodic collection of separate poems, and finds evidence for both points of view, but concludes that the collection must have contained a Rhapsodic narrative. Thus, the following sections discuss this theogonic narrative episode by episode, attempting to disentangle a reconstruction of the narrative from the allegories applied to the text by the Neoplatonists who preserved these fragments. This includes a discussion of the presentation of Chronos and Phanes as preserved by the Neoplatonists, the question of whether there was one Night or three in the Rhapsodies, the Rhapsodic version of the core succession myth, and the episode of Zeus swallowing Phanes, which includes the Rhapsodic version of the Orphic Hymn to Zeus.
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Meisner, Dwayne A. "The Eudemian Theogony and Early Orphic Poetry." In Orphic Traditions and the Birth of the Gods. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190663520.003.0003.

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The third chapter is about a theogony that had been known to the philosopher Eudemus (fourth century BC), and all of the other fragments that modern scholars have associated with this theogony. The Neoplatonist Damascius (fifth century AD) says that the theogony started with Night, but modern scholars have tried to link this to other early fragments of Orphic poetry. This chapter discusses Aristophanes in the first section, and Plato and Aristotle in the second section, arguing that their scattered references to Orphic poems might not have been from the same theogony. The third section introduces the Orphic Hymn(s) to Zeus that appear in different variations, the earliest of which are from around the same time as these other fragments. The fourth section suggests that early Orphic fragments about Demeter and Dionysus are not from the Eudemian theogony.
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"A Sojourner in Florence: Neoplatonic Themes in the Hymni naturales of Marullus." In Acta Conventus Neo-Latini Vindobonensis. BRILL, 2018. http://dx.doi.org/10.1163/9789004361553_048.

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