1987
DOI: 10.2307/3321566
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Mythes et mythologies politiques

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Cited by 21 publications
(3 citation statements)
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“…6 From this view, the study of official national "large set" or "constellation of mythologies" reveals how governments select and sometimes impose a certain interpretation of the past. 7 These constellations based on images, symbols, and heroes are to be considered in the long run, as well as depending on political contingencies. They are fundamentally malleable, "polymorphous," and concentrate several "resonances" and "significations," whether complementary or ambivalent or even contradictory.…”
Section: Introductionmentioning
confidence: 99%
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“…6 From this view, the study of official national "large set" or "constellation of mythologies" reveals how governments select and sometimes impose a certain interpretation of the past. 7 These constellations based on images, symbols, and heroes are to be considered in the long run, as well as depending on political contingencies. They are fundamentally malleable, "polymorphous," and concentrate several "resonances" and "significations," whether complementary or ambivalent or even contradictory.…”
Section: Introductionmentioning
confidence: 99%
“…They are fundamentally malleable, "polymorphous," and concentrate several "resonances" and "significations," whether complementary or ambivalent or even contradictory. 8 At the crossroads of long-term perspective and short-term conjunctures, some moments forts have deeply impacted the trajectory of nation-building in contemporary Ethiopia. In the late twentieth century, when the last Ethiopian King of Kings Haile Selassie I (r. 1930 -1974) fell to the 1974 Revolution, it meant the end of the Solomonic imperial dynasty founded by Yekuno Amlak (r. 1270 -1285) who proclaimed himself the direct heir of Menilek I, son of Solomon and the Queen of Sheba.…”
Section: Introductionmentioning
confidence: 99%
“…On y retrouve le bestiaire décrit par Girardet, avec des chauves-souris et des « animaux aveugles » qui sortent de la terre 61 . Le symbolisme animal est redoublé par celui de la « bouche monstrueuse, toujours avide, toujours dévorante », « une bouche ventouse qui suce et qui aspire 62 », une bouche vampireici figurée par Reuben, se délectant « syriaquement » des « viandes les plus grasses », des « abats », des « parties cartilagineuses ou brûlées 63 »qui toujours selon Girardet rappelle les récits de meurtre rituel. À travers cet imaginaire des caves, c'est à une réalité historique que la fiction entend nous confronter, rappelant l'existence souterraine à laquelle l'Europe condamne les Juifs.…”
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