Böcker utgivna av Societe Belge D'Etudes Celtiques

The splendours of Hallstatt, the princess of Vix, the Waldalgesheim style, Ambiorix and Vercingetorix, the oppidum of the Titelberg, the Battersea shield, Lindow Man, the stories of the Mabinogion, the hill of Tara, Cuchulainn, the Brehon Laws, the Book of Kells... Separated in time and place, can they all be placed within the framework of one "Celtic" metanarrative? Are they all part of the same grand, all-encompassing story? Metanarratives have not been very popular lately. In postmodern times, the tendency has been to replace them by small-scale, local narratives. In this context the rise of Celtosceptism in the nineties probably came as no surprise, but it resulted in a heated debate. We are now almost a decade later and the word "Celtic", if used at all, is rarely seen without inverted comma's. But is this the end of the matter or is there still scope for discussion? We hope there is!

It is widely accepted that the origin of the Celts (in the sense of Celtic-speakers) is probably to be found on the European continent and that they covered a large area in Europe and Asia Minor. Since they lived during the period of Greek and Roman supremacy, many records of the Celts and the places where they dwelled, have been transmitted owing to Greek and Roman authors.Place-names provide a good basis for tracing the 'Celticity' of places and peoples, and as archaeology alone fails to divulge the early history and distribution of Celtic speakers, linguistic research is very relevant. Place-names should be considered as the most widespread linguistic legacy of the earliest Celts, since they occur beyond areas of what belongs to the field of typically so-called 'Celtic' archaeology.

En trabajos recientes D. Gricourt y D. Hollard han planteado la importancia de la relacion entre el dios céltico Lug y distintas aves, en especial con el cuervo y el reyezuelol. Este aspecto del dios supremo céltico sirve en su investigacion como punto de partida para el examen de distintas piezas arqueologicas de los celtas continentales donde aprecian representaciones iconicas del omitomorfismo de Lug que, por lo demas, relacionan con la apreciacion de una dimension chamanica en su definicion teologica que establecen comparandolo con dioses de pueblos indoeuropeos como Odin, Rudra, y Apolo. Una parte del dossier comparativo en lo que respecta a Lug habîa sido establecida por B. Sergent y antes apuntada de forma pionera por F. Le Roux y Ch.-J. Guyonvarc'h.

Uitgangspunt voor dit boek zijn twee vragen: werd in de Nederlanden ooit Keltisch gesproken, en zo ja, hoe verhield dit Keltisch zich dan tot het Germaans dat later volledig de overhand kreeg?Om deze vragen te beantwoorden, krijgt de lezer eerst een globaal overzicht van de relevante archeologische en historische kennis over deze periode, gekoppeld aan historiografische gegevens die van belang zijn bij de interpretatie van deze feiten. Daarna volgt een beperkte inleiding in de historisch vergelijkende taalkunde, geheel toegespitst op het Keltisch en het Germaans en beperkt tot de relevante hoofdzaken.Nadat dit noodzakelijke 'gereedschap' is gepresenteerd, behandelen verschillende hoofdstukken de historische gegevens die de basis moeten bieden voor het antwoord op de gestelde vraag. Achtereenvolgens worden stamnamen, persoonsnamen, toponiemen en godennamen besproken. Centraal staat daarbij steeds de vraag naar wat deze historische feiten zeggen over de toenmalige taalsituatie.

From the moment it was published in defiance of its dead author's wishes, the Aeneid became the standard for Latin literature. Latin was taught out of it, and Dark Age authors such as Gildas and Gregory of Tours, who knew no other classical Latin author, quoted freely from it. Despite a brief and rather silly period of nineteenth-century disparagement, it has remai-ned so ever since ; the standard for ail intellectual-minded writers, the greatest work of art to emerge from the ancient world, and one of the greatest poems of the world. Above ail, Virgil's philosophical talents have been fruitful down the ages : every poet who successfully attempted large-scale religious epics - Dante, Tasso, Milton - found his chief inspiration in him, and indeed it is doubtful whether, had he not existed, their work would have been conceivable