Epiphany

This book recalibrates literature’s political role for the 21st century by excavating the deep history of storytelling as a civic agency. From Aristotle to Arendt and from the novella to the video story, short narrative forms hence become tangible as active vectors that enable and radically modulate the ontology of human encounters.

“Civic Storytelling lays bare the complex legacies and persistent powers of short narrative forms. Fuchs guides the reader with assurance and learning through fascinating moments in the history and theory of literature”
—Daniel Heller-Roazen, Princeton University

“Why has the novel stolen so much attention from the equally robust lineage of short forms? In his erudite and wide-ranging alternate literary history, Florian Fuchs rebalances accounts, revealing a long backdrop to our data floods and snippet reading. Short forms do not lead us out of the world, but into full engagement with it; they are the democratic media of the commons.”
—John Durham Peters, Yale University

“Civic Storytelling is a timely intervention in our age of debates about fact and fiction. Drawing on Hannah Arendt’s idea of enacted stories, Florian Fuchs makes a convincing case for the particular cognitive productivity of short narratives.”
—Eva Geulen, Humboldt University Berlin and ZfL Berlin

Published in Visions and Revisions: The Word and the Text, eds. Roger Kojecky and Andrew Tate, Cambridge Scholars Publishing, 2013.
An earlier version was given as a paper at the William Golding centenary conference at the University of Exeter, September 2011.

Survey of the relation between literature and religion in the Fin de siècle (1890-1910). Its metaphysic of the arts ("Kunstmetaphysik"), its use of epiphanies and its mythopoetics are discussed with examples from the works of Stefan George, Hugo von Hofmannsthal, and Rainer Maria Rilke.

The collection of novels Rye by Angel Karaliychev is analyzed with regard to the sacrificial-tragic aspect connected to its ethical and aesthetical function. In the analysis I mostly rely on the sacrificial theory by Rene Girard, which is also connected to the theory of tragic. In the collection the Dionysian and vitalistic elements are subjugated to the moral reflection in which the only possibility of salvation from the crisis, conceptualized as the omnipresent sin, is found in the form of an internal ethical transformation, that is, in a sort of epiphany. Theophany is conceived in the form of God’s intervention, a deep spiritual transformation, which on the one hand is connected to the rejection of violence and on the other hand to every form of human creation, i. e. positive transformation that makes the core of cultural phenomenon.

The ecclesiastical calendar of the church commemorates many important events in the life and ministry of Christ. In some cases, dates assigned have a strong claim to historical accuracy based upon the witness of scripture. Examples in this category include Good Friday and Paschal Sunday, which are all but universally acknowledged as historically correct. In other cases, the witness of scripture is more attenuated and seemingly silent; dates seem to rest largely upon tradition. The primary examples in this category include the Annunciation, Nativity, and Epiphany. For most of church history this was no problem: dates connected with these events were accepted in good faith as having been handed down by tradition from earlier fathers. However, with the rise of the more rationalistic Historical-Critical method and its near cousin, the History of Religions theory, “reception by tradition” fell into academic disrepute: the age of science rejected the traditions of faith. Today, the origin of the Christmas date in particular is sought almost exclusively outside of scripture, typically in paganism or other extra-biblical sources. The purpose of this article is to rehabilitate the historical, faith-based position of the church by providing a chronology, based upon scripture, of the major events in the life and ministry of Christ, with an emphasis upon Epiphany and the Nativity. As it happens, the traditional dates of these events turn out to have a greater claim to scriptural and historical authenticity than is popularly supposed, such that scripture and tradition offer a far superior explanation of their origin than other prevailing theories.

L’articolo considera i Sermoni sull'Epifania di tre Autori vissuti in epoche diverse, accomunati dall'essere filosofi , teologi e cardinali e dall'aver centrato la propria riflessione sul tema cristologico. Dopo una breve introduzione sul significato della solennità dell’Epifania e sul genere dei “Sermoni”, si prendono in esame quei passi in cui la stella del racconto matteano è esplicitamente nominata. Il simbolo si presta a molteplici interpretazioni anche in riferimento alla Scrittura, al cammino di ricerca della verità, alla risposta al Dio che si rivela a tutti i popoli.

This paper examines in detail an epiphanic moment in Virginia Woolf's 'A Room of One's Own' in the light of George Herbert Mead's social interactionist theory of the mind and of cognition. The epiphanic moment is experienced as an unexpected synthesis of multiple identities and experiences, a conjunction whose very contingency opens up unforeseen possibilities of creative experience. Creativity, openness, unexpectedness, complexity—memorable moments that make the most of this synthesis provide the experience of the subliminal or the unconscious coming to consciousness, and they tend to return to mind and to become milestones in personal development, and in the story of one's relation to oneself. The attention Virginia Woolf pays to the complexity and density of the moment is a tribute both to the present and to the mind—if the mind is to be defined, for the sake of this argument, as the management of emergent complexity, and the present as the locus not just of reality, but of the mental activity that synthesizes it.

The Dioscuri—Castor and Pollux—are among the most epiphanic of gods, frequently appearing in battle or to sailors struggling at sea. On Chios, a festival called the Theophania was founded in the third century BC to commemorate an ep-iphany of the twin gods. Indeed, their appearance at the Sicilian battle of the River Sagra c. 540 BC was so well known in Greek—and Roman—culture that it was invoked as a proverbial example of epiphanic manifestation in Cicero's De natura deo-rum (2.1.13); as such, it was the model for several Graeco-Roman battle epiphanies featuring the Dioscuri and their horses, from Postumius' victory at Lake Regillus in 496 BC to Constantine's at the Milvian Bridge in AD 312. The numerous battle ep-iphanies of antiquity have been gathered and assessed by previous scholars (Pfister 1924 and Pritchett 1979). This article posits a new approach to the material, arguing that, because of their fame and ubiquity, epiphanies of the Dioscuri provided a model through which to explore both the validity and visual authority of divine manifestation. The conjuring of divine presence through the physical semeia of the gods is also an important element of the portrayal of the Dioscuri in image form. Representations of these epiphanic gods cover a spectrum of iconicity, ranging from highly anthropomorphized 're-enactments' of their epiphanies (such as the sculptures set up in the Roman forum to commemorate the Lake Regillus victory) to metonymic de-notations of their presence in the form of their polos hats, and sub-iconic depictions of twin stars. This combination of corporeal and cosmic semeia provides a sophisticated commentary upon the cognitive dilemmas raised by epiphany: what kind of bodies do the gods have, how do they reveal these forms to mortals, and how are we to recognize and identify them? As deities defined by dualism—mortals and immortals , gods and heroes, men and stars—the Dioscuri provide a particularly potent model for exploring such issues, for both ancient thinkers and modern scholars of epiphany. This paper explores the epiphanic landscape inhabited by the brother gods Castor and Pollux across a broad range of Greco-Roman cultural artifacts, from theological

This paper investigates the strategies of language-use in James Joyce's "The Dead " and the relationship between these strategies and the prominent themes of the story,such as subjectivity, nationalism and literature. Using a Heideggerian approach, it understands the story as a series of linguistic incidents and encounters, in which Gabriel Conroy is made to think upon the relations among himself, others and the nation, as an abstraction to which both he and others are supposed to belong. The narrative quest in the story is to have an authentic experience of language that indeed occurs at the end of the story in the form of epiphany,with all the force and suggestivity of Heideggerian event (Ereignis), when Joyce's  writing opens up a world in the Heideggerian sense: Ireland covered in snow.But the ending does not provide a resolution to the questions of subjectivity and its relation to the nation; rather it suggests aground,i.e.literature,with respect to which such questions become secondary and relative. The story may then be viewed as an ode to the powers of literature to affect, to encompass, to resonate.

Pediment Doors Of Caunus Rock Temple Tombs And Epiphany
At Caunus six temple type rock cut tombs are located side-by-side on the rock face oriented to the modern
village of Dalyan. Four of six tombs represent the idea of deifying dynasty members, which was an ancient
Anatolian tradition known from Hittite documents in Caria.
The first tomb, named B8, shows in the pediment antithetic arranged lions and birds at the right corner. An
entirely similar example was found in Hambarkaya – Paphlagonia, which assumed the type of rock-cut tombs
from Phrygia. The interpretation of lions and birds as sacred animals of Mother Goddess is convincing. The
concurrence with Phrygian iconography is provided by Göynüş Aslantaş, which is as early as 8th century BC
temple grave. In this Phrygian temple grave, a Phrygian dynast was deified , is understandable both in the
light of the representations on the rock temple Aslankaya, and through the flat roof on which the gods were
worshipped. So, the tomb B8 in Caunus should be also like that...

I use a modified definition of “epiphany” attuned to Gaddis’s aesthetics to examine the story arcs of some characters in The Recognitions: Wyatt—whose existence becomes dislocated in his childhood and who attempts to regain it in religion, art, and physical love before finally recovering it in the need for agap¯e in his modernist world—Otto, Anselm, Stanley, Agnes, and Benny. I thereby reclassify The Recognitions as a modernist work.

A red Jew or why the character in Bosch’s Epiphany is not the Antichrist

The character present in the stable of the Epiphany in Prado Museum – traditionally identified as the Antichrist – is the best link between Flemish Art and the historical legend of the red Jew.
Bosch uses a red shade to portray the unbelieving Jew who would not uncover in the presence of God, colouring his hair, clothes, even his skin, with this shade. When the Epiphany is painted, at the end of the 15th c., the “red danger” – an ethnic variety of Judaism – has spread all over Europe.

This peculiar religious group, originating in Gog’s and Magog’s apocalyptic lands would have been absorbed by the Ottoman Empire after the conquest of Constantinople in 1453.
During the second half of the 15th c., some artists in the Northern Flanders provinces depict any representative of the Hebrew nation in red, due to a fin de siècle terror that spreads around Flanders and Germany.

The Flemish artist starts a trend that would use a red shade to depict the unbelieving Hebrew. This is particularly popular in Southern Flanders art, where Jews are fully portrayed in red. Painters of Northern Flanders include a red badge in the yellow outfit instead. Due to traditional iconographic loans between the Hebrew and the Devil, the latter is dressed up in red, although none of the above-mentioned images depicts the Antichrist.

Resumen:
La mejor relación entre la pintura flamenca y la leyenda histórica de los judíos rojos, se logra en este personaje que asoma por el establo de la Epifanía del Museo del Prado, tradicionalmente identificado con el Anticristo.

El Bosco tiñó de color bermejo al judío incrédulo que no se descubre ante la divinidad. Tonalidad que ocupa el pelo, las ropas y hasta la piel. A fines del s. XV, cuando este artista de Bolduque pintó la tabla, el peligro rojo se había extendido por toda Europa. Esta peculiar etnia judía, procedente de las tierras apocalípticas de Gog y Magog, había sido absorbida por el Imperio Turco tras la conquista de Constantinopla en 1453. En la segunda mitad del s. XV, debido al terror finisecular que se despertó, algunos artistas del Norte de Flandes comenzaron a colorear de rojo a los representantes del pueblo hebreo. Tras el maestro de Bolduque el tono bermejo se impuso de forma generalizada en la imagen de los judíos, especialmente en las escuelas del Sur de Flandes, que los coloreó así en su totalidad. Los centros pictóricos del Norte, optaron por añadir un distintivo rojo en sus prendas junto al preceptivo color amarillo. Debido a los tradicionales préstamos iconográficos entre el hebreo y el diablo, éste último vistió también de colorado; aunque hay que informar que ninguna de las imágenes citadas corresponde al Anticristo.

This article aims to examine the role played by the σάνδαλα in the Homeric Hymn to Hermes and to show that it is thanks to their enormous footprints and the «epiphanic» manner in which Hermes manipulates them that the god is able to affirm the divine nature he holds de facto and to claim that his divine status is validated de jure.

Cet article se propose d'analyser le rôle que jouent les σάνδαλα dans l'Hymne homérique à Hermès et de montrer que c'est grâce à leurs empreintes immenses et à la manière dont Hermès les manipule sur le mode «épiphanique» que le dieu réussit à affirmer la nature divine qu'il détient de facto et à revendiquer que son statut divin soit validé de jure.

The modernist age in Europe (1890s-1930s) is often regarded as a time of spiritual crisis, yet at the outset of the twentieth century religious sentiment enjoyed a renewed attention fostered by contemporary science. William James’s The Varieties of Religious Experience (1901–02) proposed a study of religious feeling in a modern psychological perspective that became widely known in England and beyond. This paper considers the substantial affinities between James’s description of religious experiences and the critically accepted definition of literary epiphany, suggesting that his work might have inspired the way in which some modernists across Europe conceived and portrayed their ecstatic moments. Two case studies, from the Anglophone author Katherine Mansfield and the Italian Federigo Tozzi, are considered in close reading. Finally, a reflection is proposed about how James’s conclusions can illuminate some important reasons for the popularity of epiphanies in modernist times.

Though a "vision-centered " perspective is apparent in a variety of contexts in Greco-Roman life and literature, of particular interest to this essay are the visually oriented rhetorical techniques that Greco-Roman authors and orators used to appeal to the visual imaginations of their audiences. Through these well-theorized techniques, authors and orators hoped not only to engage their audiences' visual imaginations but also to transport them emotionally into the described scene. The author of the Epistle to the Hebrews was to all appearances well versed in these techniques, and perhaps this is nowhere more evident than in Heb 12:1-4. Enlisting the language and imagery of agonistic sport and spectacle, this visually evocative text helps the community reenvision their current situation. Their sufferings are thus reconfigured as normative to the athletic sphere, while their commitment to Christ and his community is translated into a test of endurance in a footrace. Integral to this agonistically shaped exhortation is the vivid portrayal of Jesus as the "forerunner" and victorious "finisher" of the same contest of faith in which the community is presently competing. Ekphrasis and epiphany coalesce in this mimetic portrayal, signaled by the author's exhortation to "fix our gaze" on the one who has triumphed over adversity and adversaries.

Simply put, this dissertation explores the reading experience. It explores the possible reasons as to why people love to read and the impact that the experience of reading has on the reader. The dissertation does so with particular reference to the novel. Issues such as canonicity, popular fiction, affect theory, the function of reading, and the place of literature in a reader’s life are tackled through the reading of several critics and important thinkers, and the varied thoughts are juxtaposed and explored in order to come up with potential answers to this unanswerable question. Two important traits of the novel with regard to the impact it may have on the reader are explored in more depth. The first of these is the epiphanic characteristic of the novel and the representation of the epiphanic in the novel. The second is the possibility of affirmation through tragic narratives. What this dissertation ultimately does is to analyze critically the incredibly personal act of reading as a universal phenomenon, taking into consideration aspects of the novel which make the medium more amenable to analysis and criticism. What this project essentially seeks to achieve is a critical analysis which attempts to justify why readers keep on reading and why people keep becoming readers regardless of new media and other distractions. The key word that surfaces continuously throughout the dissertation is identification, and this is the term that holds the various strands of thoughts and theories together, which in the end communicate—on an affirmative note—the need for the love of reading to remain a reality as well as the improbability of its dying out.

Extraits en forme d'abstract (article téléchargeable)
La composition de Dubliners est contemporaine d’autres projets qui connaîtront des fortunes diverses – un projet d’esthétique, de multiples tentatives de ‘portrait de l’artiste’, les expériences épiphaniques – à quoi s’ajoutent aussi divers articles critiques. Il est manifeste qu’à bien des égards ces multiples formes d’écriture se chevauchent, en particulier en ce qui concerne le travail sur son autoportrait, plus ou moins distancié et ironique, dont on retrouve bien des traces dans Dubliners. Il semble qu’avec Joyce rien ne doive se perdre : tout est susceptible en effet d’être réutilisé ou réinjecté, recyclé, diront certains.

J’aimerais ici m’intéresser à un cas particulier de portrait qui figure bon nombre des traits, tracés et biffures, rapidement mentionnés. Je serais volontiers enclin à intituler ‘l’artiste en philosophe raté’, à moins qu’au contraire ce ne soit un philosophe trop parfait. Dans cette perspective, un examen plus attentif du personnage de James Duffy nous permettra de mieux saisir la logique du rapport de Joyce à son texte, celle qui le conduit d'un logique de dénonciation des Dublinois, à l’écoute de ce qui s’énonce.
Mais pourquoi s’intéresser à Nietzsche parmi tant d'autres références? La réponse n’est pas simple ou, plus justement, les réponses sont multiples, et n’est-ce pas ce que Nietzsche nous a appris à penser ? Mais que Nietzsche soit un élément déterminant du paradigme moderniste, voire postmoderniste, voilà qui est certes intéressant mais nullement suffisant pour ainsi braquer nos gros projecteurs sur ce point. Que Nietzsche, donc, ait été l’une des figures marquantes du tournant du siècle est indéniable, mais Nietzsche nous a également appris à nous méfier de ce qui est par trop ‘de son temps’. La figure de Nietzsche est remarquable en ce qu’elle est révélatrice du rapport irrévérencieux de Joyce à la philosophie et d’un tournant de son rapport à la philosophie. Pour illustrer le premier point, l’irrespect souverain de Joyce, je reprendrai une anecdote rapportée par son ami Padraic Colum :
I left some volumes on the counter. They were The World as Will and Idea. When the three of us were on the stairway, Joyce said with the raillery he often used when addressing in these days : “You see before you two frightful examples of the will to live,” which meant that Joyce and his companion were out to pick up girls.

Si l’anecdote renvoie à Schopenhauer, ce qui frappe c’est l’aisance, la fluidité avec lesquelles Joyce passe du registre du discours et de son sérieux à celui, ludique, où les mots prennent leur vie propre dans les effets du wit, niveau qui n’ignore pas le corps. Mon intention ne sera donc pas de faire de Joyce un nietzschéen au sens de quelqu'un qui adhère à un discours, mais au sens de celui qui amène de l’air dans le discours. Il faut se garder de faire de Joyce un héraut nietzschéen, comme le fait par exemple John White : “[Nietzsche’s] preachments provided Joyce with visible justification for what he thought and felt”. En effet, Nietzsche invite à un niveau autre de la pensée où elle doit se montrer à la hauteur du jeu, avoir son sérieux. D’autre part, Joyce montrera clairement plus tard qu’un certain folklore nietzschéen un peu trop bruyant a quelque chose de douteux en l’associant dans Ulysses à Buck Mulligan, personnage coutumier du racisme ordinaire et praticien de l’ironie méchante.
Alors ce sera moins le fait que Joyce signe une carte postale “James Overman”, que la malice faisant apposer cette signature à un mot où Joyce tente amicalement de ‘taper’ un proche de quelque argent, qui devrait retenir notre attention. C’est aussi une veine malicieuse qui anime la main faisant déposer deux ouvrages de Nietzsche sur les rayons de la bibliothèque de James Duffy après qu’il a renoncé à l’amour pour mieux satisfaire la jouissance névrotique d’avoir raison, seul. Seulement, Joyce aura eu à apprendre que ce n’est jamais impunément que l’on élève le rire à cette puissance…

http://cem.revues.org/13079

This dissertation deals with the iconography of the Three Kings from the 10th to the 12th century, by means of a study of its adaptation on monumental decoration in Latin Europe, so as to unravel how it was adapted by feudal society. The aim is to define where the newly defined Three Kings stand in the intricate network of “ties between man and man” theorized by Marc Bloch. A phenomenological analysis reveals the features of the characters in the “feudal imaginary”, fully invested with their royal function and its aura, and finding their place in a mental system whose mode of functioning can be unveiled thanks to the study of great iconographic sets. Being abstract universal figures, the Three Kings constitute a clear picture of the notion of social group, modulated according to various unifying consciences, from the most basic unit to Christian Holism.

Cette thèse porte sur l’iconographie des Rois mages du xe au xiie siècle à travers l’étude de son adaptation sur supports monumentaux dans l’Occident latin, pour déceler la reformulation du thème dans la « société féodale ». L’optique est de définir la place des nouveaux Rois mages dans les intrications de liens « d’homme à homme » dépeintes par Marc Bloch. Une analyse phénoménologique fait ainsi apparaître une figure des personnages dans l’« imaginaire féodal », pleinement investis de la fonction royale et de son aura, trouvant leur place dans un système mental que l’analyse de grands ensembles iconographiques permet de définir. En tant que figures universelles abstraites, les Rois mages forment ainsi une projection claire de l’idée de groupe, modulée selon diverses consciences fédératrices, de sa cellule la plus restreinte à l’universalité chrétienne.

In 1883, an ethnobotanical enquiry was distributed by Józef Rostafiński (1850-1928), professor at the Jagiellonian University in Cracow (then Austro-Hungary). Two questions concerned the blessing of plants by Polish people during various holidays. Information on the plants was included in letters from 76 correspondents. The most plant names – 90 – were provided by Apolinary Chrzanowski. These names were used in the Janów district in the Lublin 'gubernya'. Rostafiński received a total of 1,052 records (13.84 records per respondent, median – 9). Ca. 160 species and at least 48 genera of plants, blessed during various religious ceremonies, were identified in the submitted responses. The most frequently blessed were Sedum acre L. and Artemisia abrotanum L. – 43 records each, and Thymus sp. – 40. Plants were blessed during the following holidays: Epiphany (4 records: 2 species, 2 records indet.), Easter (10 records: 6 species, 1 genus, and 1 indet.), Pentecost (15 records: 9 species, 3 genera), Corpus Christi (426 records: 86 species, 33 genera, 31 indet.), Assumption of Our Lady (585 records: 125 species, 43 genera, 53 indet.), eve of St. John (St. Ivan) (3 records: 3 species), St. Blaise (1 record: 1 genus), St. Nicholas (1 record: 1 species), weddings (2 records: 2 species), unspecified celebrations (4 records: 3 species). Blessed plants were stored and then used, generally as drugs or for magical purposes.

En analysant les traces laissées sur le sol par le voleur de ses vaches, Apollon glisse une allusion à un Centaure en tant qu'auteur du vol, n'invoquant cependant cette hypothèse que pour la rejeter aussitôt. En dépit du caractère incongru de ce faux syllogisme et par-delà ses effets comiques, cette allusion laisse dévoiler des significations « théologiques » qui s'accordent avec les enjeux théogoniques de l'Hymne homérique à Hermès.

While analyzing the traces left on the ground by the thief of his cows, Apollo mentions allusively a Centaur as the author of the theft, although he formulates this hypothesis only to reject it immediately. Despite the incongruity of this false syllogism and beyond its comic effects, the allusion reveals "theological" significations corresponding to the theogonic issues of the Homeric Hymn to Hermes.

The article is devoted to the attribution of the tablet icon “Theophany — The Synaxis of John the Baptist” (22.7 × 19.1) from the Museum of the Russian Icon. It has undergone a comprehensive study at the State Research Institute for Restoration, which revealed some features of artistic execution, the degree of intermittent interventions, and the painting technique. The unique iconography of the tablet which combines the feasts dedicated to John the Baptist, allows us to talk about a significant series of icon calendars, thus reflecting the formation process of the iconography of the Synaxis of John the Baptist (January 7) in Russia. By its specific technique of execution, artistic style and iconography the icon can be connected with the Pskov art of the 1540s.

In the Mass of the Epiphany, after the singing of the Gospel, the deacon still announces the date of Easter, according to an ancient practice of the Church. There are various textual and musical formulas in the different ritual traditions. The contribution focuses on the formulas used in Aquileia and Venice, also taking into account the use of Milan and the formulas found in manuscripts from the eastern Adriatic area (Spalato, Osor). The formula "Plebs sancta", in addition to Aquileia and (in amplified form) in Venice, was in use in Como, Bergamo and other Churches in Northern Italy, as further evidences have shown.

On two strikingly realistic details on the Franks casket (Magi and legionaries) and on their possible interpretation on the basis of military history, and on a possible very simple interpretation of the right panel based on the confront with the Adoration of the Magi scene.

Kowalczyk M., Geneza i obchody Uroczystości Objawienia Pańskiego. Zarys problematyki, Studia Elbląskie, t. XX (2019), s. 325-338.

The Epiphany in the Roman Catholic Church is celebrated on 6 January, and in the liturgy refers to the Gospel of St. Matthew (Mt 2, 1-12) where the adoration of the Magi is described and presents a symbolical bow of persons from all nations before the Incarnated God. In the Evangelical Church of the Augsburg Confession the Three Kings’ Day is celebrated on 6 January under the name of Epiphany. The same term – Epiphany – is used in the Orthodox Church but the celebration falls on 6 to 19 January, depending on the Julian calendar.
The celebration of the Three Kings’ Day in Poland is accompanied by many traditions and customs which define the piety of people in these lands – blessing the chalk used to write the Magi’s initials on the entrance doors (K+M+B) or the Hole Family’s (J+M+J) and current year; carol singers visiting people; performances and role playing (the so-called dialogues); occasional bread and cake baking; colorful processions along city streets. These customs demonstrate how the sacred and the profane intersperse on this day. We can say that piety adapted one of the biblical events for its purposes through cheerful celebrations and fun.

Genese und Feier zur Erscheinung des Herrn in Polen
Die Erscheinung des Herrn in der römisch-katholischen Kirche wird am 6. Januar gefeiert .In der Liturgie bezieht sich sie auf Evangelium nach Matthäus (Mt. 2, 1-12), in dem die Verbeugung drei Magier beschrieben wurde, die symbolisch eine Verbeugung der Menschen aller Nationen vor dem Gott darstellt. In der Evangelisch-Augsburgischen Kirche ist die Erscheinung des Herrn am 6. Januar als Epiphania gefeiert. Unter dem gleichen Namen – Epiphania – Erscheinung des Herrn ist in der orthodoxen Tradition zwischen 6. und 19. Januar nach der Reihenfolge des julianischen Kalenders gefeiert.

Dreikönigfest in Polen ist mit vielen Traditionen und Sitten verbunden, die echte Volksfrömmigkeit dieses Gebiets charakterisieren - geweihte Kreide, mit der die Initialen C+M+B oder der Heiligen Familien an die Tür und das Datum laufendes Jahres geschrieben werden; Gehen der Sternsinger mit einem Stern von Haus zu Haus; Krakauer Hochzeit und sog. Dialogen (Veranstaltungen); gelegentliches Backen der Kuchen und Brote; bunte Prozessionen, die durch die Straßen der Städte gehen. Diese Sitten stellen ein Prozess der Verbindung von Sacrum und Profanum dar. Man kann sagen, dass die Volksfrömmigkeit durch freudige Feier und Spiele an ihre Bedürfnisse eines von biblischen Ereignissen anpasste.

This study assesses the impact of Beckett’s work upon the early work of the Northern Irish poet Derek Mahon. Arguing that Mahon co-opts Beckett as an influence by misreading his work as that of a lyric poet manqué, the essay examines Mahon’s handling of Beckett as source, model and ‘adopted’ precursor in four  poems: “Exit Molloy,” “An Image from Beckett,” “Tithonus” and “The Last of the Fire Kings.”