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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Iconography</h1><div class="u-tcGrayDark">82,556 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Iconography</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Iconography">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Iconography/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Iconography/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Iconography/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Iconography">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45201118" data-work_id="45201118" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45201118/_S_Ignatius_vulneratus_et_conversus_est_Los_tipos_iconogr%C3%A1ficos_ignacianos_de_la_herida_y_la_conversi%C3%B3n_en_sus_fuentes_literarias_y_gr%C3%A1ficas_">«S. Ignatius vulneratus et conversus est. Los tipos iconográficos ignacianos de la herida y la conversión en sus fuentes literarias y gráficas»</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">El ciclo que narra el proceso de la herida a la conversión de Ignacio de Loyola tuvo, desde sus orígenes, una destacada importancia para la Compañía de Jesús, pues supuso el segundo nacimiento de su fundador. La génesis de los tres tipos... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45201118" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El ciclo que narra el proceso de la herida a la conversión de Ignacio de Loyola tuvo, desde sus orígenes, una destacada importancia para la Compañía de Jesús, pues supuso el segundo nacimiento de su fundador. La génesis de los tres tipos iconográficos que componen este ciclo –Vulneratur, Sanatur à S. Petro y Legit libros pios– hay que buscarla en la Vita escrita por Pedro de Ribadeneyra (1572) y en su posterior difusión gráfica a través de las obras de Pieter Paul Rubens (1609) y los hermanos Galle (1610). Tras la canonización de san Ignacio, los domicilios jesuíticos se llenaron de series pictóricas que, en muchos casos, incluían representaciones de estos tipos iconográficos, las cuales buscaban propagar la devoción por el santo y mostrarlo como modelo a imitar.<br /><br />The cycle that narrates the process from the wound to the conversion of Ignatius of Loyola had, from its origins, a decisive importance for the Society of Jesus, since it was understood as the second birth of its founder. The genesis of the three iconographic types that form this cycle –Vulneratur, Sanatur à S. Petro and Legit libros pios– must be sought in the Vita written by Pedro de Ribadeneyra (1572) and in its subsequent graphic dissemination in the works of Pieter Paul Rubens (1609) and the Galle brothers (1610). After the canonization of St. Ignatius, Jesuit residences were filled with pictorial series that, in many cases, included representations of these iconographic types, which sought to spread devotion of the saint and depict him as a model to imitate.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45201118" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="042e09daef7983eaa8576ea79002619e" rel="nofollow" data-download="{"attachment_id":65785678,"asset_id":45201118,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65785678/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="58065296" href="https://ehu.academia.edu/EnekoOrtegaMentxaka">Eneko Ortega Mentxaka</a><script data-card-contents-for-user="58065296" type="text/json">{"id":58065296,"first_name":"Eneko","last_name":"Ortega Mentxaka","domain_name":"ehu","page_name":"EnekoOrtegaMentxaka","display_name":"Eneko Ortega Mentxaka","profile_url":"https://ehu.academia.edu/EnekoOrtegaMentxaka?f_ri=869","photo":"https://0.academia-photos.com/58065296/24167409/23125682/s65_eneko.ortega_mentxaka.jpg"}</script></span></span></li><li class="js-paper-rank-work_45201118 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45201118"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45201118, container: ".js-paper-rank-work_45201118", }); 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$(".js-view-count[data-work-id=45201118]").text(description); $(".js-view-count-work_45201118").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45201118").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45201118"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8121" rel="nofollow" href="https://www.academia.edu/Documents/in/Baroque_Art_and_Literature">Baroque Art and Literature</a>, <script data-card-contents-for-ri="8121" type="text/json">{"id":8121,"name":"Baroque Art and Literature","url":"https://www.academia.edu/Documents/in/Baroque_Art_and_Literature?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="66491" rel="nofollow" href="https://www.academia.edu/Documents/in/Society_of_Jesus">Society of Jesus</a>, <script data-card-contents-for-ri="66491" type="text/json">{"id":66491,"name":"Society of Jesus","url":"https://www.academia.edu/Documents/in/Society_of_Jesus?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="101118" rel="nofollow" href="https://www.academia.edu/Documents/in/Peter_Paul_Rubens">Peter Paul Rubens</a><script data-card-contents-for-ri="101118" type="text/json">{"id":101118,"name":"Peter Paul Rubens","url":"https://www.academia.edu/Documents/in/Peter_Paul_Rubens?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45201118]'), work: {"id":45201118,"title":"«S. Ignatius vulneratus et conversus est. Los tipos iconográficos ignacianos de la herida y la conversión en sus fuentes literarias y gráficas»","created_at":"2021-02-26T00:56:03.478-08:00","url":"https://www.academia.edu/45201118/_S_Ignatius_vulneratus_et_conversus_est_Los_tipos_iconogr%C3%A1ficos_ignacianos_de_la_herida_y_la_conversi%C3%B3n_en_sus_fuentes_literarias_y_gr%C3%A1ficas_?f_ri=869","dom_id":"work_45201118","summary":"El ciclo que narra el proceso de la herida a la conversión de Ignacio de Loyola tuvo, desde sus orígenes, una destacada importancia para la Compañía de Jesús, pues supuso el segundo nacimiento de su fundador. La génesis de los tres tipos iconográficos que componen este ciclo –Vulneratur, Sanatur à S. Petro y Legit libros pios– hay que buscarla en la Vita escrita por Pedro de Ribadeneyra (1572) y en su posterior difusión gráfica a través de las obras de Pieter Paul Rubens (1609) y los hermanos Galle (1610). Tras la canonización de san Ignacio, los domicilios jesuíticos se llenaron de series pictóricas que, en muchos casos, incluían representaciones de estos tipos iconográficos, las cuales buscaban propagar la devoción por el santo y mostrarlo como modelo a imitar.\n\nThe cycle that narrates the process from the wound to the conversion of Ignatius of Loyola had, from its origins, a decisive importance for the Society of Jesus, since it was understood as the second birth of its founder. The genesis of the three iconographic types that form this cycle –Vulneratur, Sanatur à S. Petro and Legit libros pios– must be sought in the Vita written by Pedro de Ribadeneyra (1572) and in its subsequent graphic dissemination in the works of Pieter Paul Rubens (1609) and the Galle brothers (1610). After the canonization of St. Ignatius, Jesuit residences were filled with pictorial series that, in many cases, included representations of these iconographic types, which sought to spread devotion of the saint and depict him as a model to imitate.","downloadable_attachments":[{"id":65785678,"asset_id":45201118,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":58065296,"first_name":"Eneko","last_name":"Ortega Mentxaka","domain_name":"ehu","page_name":"EnekoOrtegaMentxaka","display_name":"Eneko Ortega Mentxaka","profile_url":"https://ehu.academia.edu/EnekoOrtegaMentxaka?f_ri=869","photo":"https://0.academia-photos.com/58065296/24167409/23125682/s65_eneko.ortega_mentxaka.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":8121,"name":"Baroque Art and Literature","url":"https://www.academia.edu/Documents/in/Baroque_Art_and_Literature?f_ri=869","nofollow":true},{"id":66491,"name":"Society of Jesus","url":"https://www.academia.edu/Documents/in/Society_of_Jesus?f_ri=869","nofollow":true},{"id":101118,"name":"Peter Paul Rubens","url":"https://www.academia.edu/Documents/in/Peter_Paul_Rubens?f_ri=869","nofollow":true},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869"},{"id":205671,"name":"Barroco","url":"https://www.academia.edu/Documents/in/Barroco?f_ri=869"},{"id":434730,"name":"San Ignacio de Loyola","url":"https://www.academia.edu/Documents/in/San_Ignacio_de_Loyola?f_ri=869"},{"id":503251,"name":"Arte Barroco","url":"https://www.academia.edu/Documents/in/Arte_Barroco?f_ri=869"},{"id":534033,"name":"Ignatius of Loyola","url":"https://www.academia.edu/Documents/in/Ignatius_of_Loyola?f_ri=869"},{"id":852833,"name":"Historia de la Compañía de Jesús","url":"https://www.academia.edu/Documents/in/Historia_de_la_Compania_de_Jesus?f_ri=869"},{"id":1464166,"name":"Hieronimus Wierix","url":"https://www.academia.edu/Documents/in/Hieronimus_Wierix?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35061629" data-work_id="35061629" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" rel="nofollow" href="https://www.academia.edu/35061629/Contract_Opportunity_with_the_College_of_Mental_Health_Counselling_download_">Contract Opportunity with the College of Mental Health Counselling (download)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In order to accept this Student Recruiter agreement with the College of Mental Health Counselling, you must believe in and agree with the value of learning about counselling through the online course described at <a href="http://www.ctihalifax.com" rel="nofollow">www.ctihalifax.com</a>, and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35061629" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In order to accept this Student Recruiter agreement with the College of Mental Health Counselling, you must believe in and agree with the value of learning about counselling through the online course described at <a href="http://www.ctihalifax.com" rel="nofollow">www.ctihalifax.com</a>, and you must act in good faith accepting that the College will remunerate you as per the terms of this agreement in #5 below. Because a Student Recruiter must communicate the following, therefore completing the below steps is considered a Skill Test in order to qualify. When the College receives full tuition from your first referral, you will be considered a Student Recruiter.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35061629" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8bc0a8402ba24298e00d038be6ed8c1d" rel="nofollow" data-download="{"attachment_id":55028122,"asset_id":35061629,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55028122/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="345752" href="https://collegemhc.academia.edu/DanielKeeran">Daniel M Keeran MSW</a><script data-card-contents-for-user="345752" type="text/json">{"id":345752,"first_name":"Daniel","last_name":"Keeran MSW","domain_name":"collegemhc","page_name":"DanielKeeran","display_name":"Daniel M Keeran MSW","profile_url":"https://collegemhc.academia.edu/DanielKeeran?f_ri=869","photo":"https://0.academia-photos.com/345752/94042/30134256/s65_daniel.keeran_msw.jpg"}</script></span></span></li><li class="js-paper-rank-work_35061629 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35061629"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35061629, container: ".js-paper-rank-work_35061629", }); 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Because a Student Recruiter must communicate the following, therefore completing the below steps is considered a Skill Test in order to qualify. When the College receives full tuition from your first referral, you will be considered a Student Recruiter.","downloadable_attachments":[{"id":55028122,"asset_id":35061629,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":345752,"first_name":"Daniel","last_name":"Keeran MSW","domain_name":"collegemhc","page_name":"DanielKeeran","display_name":"Daniel M Keeran MSW","profile_url":"https://collegemhc.academia.edu/DanielKeeran?f_ri=869","photo":"https://0.academia-photos.com/345752/94042/30134256/s65_daniel.keeran_msw.jpg"}],"research_interests":[{"id":1,"name":"Creative 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href="https://www.academia.edu/6743701/Amore_punito_e_disarmato_Parola_e_immagine_da_Petrarca_allArcadia">Amore punito e disarmato. Parola e immagine da Petrarca all'Arcadia</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Nella letteratura italiana dal XIV al XVIII secolo ha discreta fortuna e circolazione il tema della sconfitta del dio dell’amore, umiliato e privato delle proprie armi soprattutto dalle donne. A partire dalle fonti classiche... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_6743701" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Nella letteratura italiana dal XIV al XVIII secolo ha discreta fortuna e circolazione il tema della sconfitta del dio dell’amore, umiliato e privato delle proprie armi soprattutto dalle donne. A partire dalle fonti classiche dell’episodio, rintracciabili nell’epigrammatica alessandrina e nel "Cupido cruciatus" di Decimo Magno Ausonio, si ricostruiscono il significato e le molteplici declinazioni del soggetto nella produzione letteraria italiana, dal "Triumphus Pudicitie" di Francesco Petrarca alla poesia in ottava rima di Luigi Pulci e Angelo Poliziano, dalle raccolte di emblemi ed imprese ai poemetti encomiastici cinquecenteschi in lode di donne, dalle opere di Moderata Fonte e Lucrezia Marinelli alla letteratura morale settecentesca (con particolare attenzione per l’"Amore disarmato" attribuito a Jacopo Durandi). Ripercorrere le tappe della ricezione, tra riscrittura e risemantizzazione, del topos di Cupido punito e disarmato significa andare oltre un’indagine puramente tematica, per ricostruire la fortuna, letteraria ma anche iconografica, di un motivo di lunga durata. <br />Questo libro ha vinto il Premio Tesi di Dottorato istituito dalla Sapienza Università di Roma, nell’edizione 2013."</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6743701" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a76d131c2d6ef5030a8f216c7572d624" rel="nofollow" data-download="{"attachment_id":50560303,"asset_id":6743701,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50560303/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="11088741" href="https://uniroma1.academia.edu/FrancescoLucioli">Francesco Lucioli</a><script data-card-contents-for-user="11088741" type="text/json">{"id":11088741,"first_name":"Francesco","last_name":"Lucioli","domain_name":"uniroma1","page_name":"FrancescoLucioli","display_name":"Francesco Lucioli","profile_url":"https://uniroma1.academia.edu/FrancescoLucioli?f_ri=869","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_6743701 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6743701"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6743701, container: ".js-paper-rank-work_6743701", }); 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Además, incluye un disco compacto con las únicas imágenes fílmicas que se conservan del poeta, tomadas durante el II Congreso Internacional de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43755326" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El álbum reproduce todas las fotografías y los retratos del poeta hechos durante su vida. Además, incluye un disco compacto con las únicas imágenes fílmicas que se conservan del poeta, tomadas durante el II Congreso Internacional de Escritores para la Defensa de la Cultura en 1937.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43755326" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b1515e58b3c9946e2ba31c32cfe60ba9" rel="nofollow" data-download="{"attachment_id":64067061,"asset_id":43755326,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64067061/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="108967656" href="https://independent.academia.edu/Fern%C3%A1ndezL%C3%B3pezCarlos">Carlos Fernández López</a><script data-card-contents-for-user="108967656" type="text/json">{"id":108967656,"first_name":"Carlos","last_name":"Fernández López","domain_name":"independent","page_name":"FernándezLópezCarlos","display_name":"Carlos Fernández López","profile_url":"https://independent.academia.edu/Fern%C3%A1ndezL%C3%B3pezCarlos?f_ri=869","photo":"https://0.academia-photos.com/108967656/26137249/132416968/s65_carlos.fern_ndez_l_pez.jpg"}</script></span></span></li><li class="js-paper-rank-work_43755326 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43755326"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43755326, container: ".js-paper-rank-work_43755326", }); 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The persistent confusion both in terms of attribution and identification of the subject matter is clarified in this paper, following on from Hans Vlieghe’s 1990 evidence. Tracing the now dispersed series as far as possible, the present article pays special attention to the eleven canvasses at Tessé Museum, Le Mans, as they appear part of a unique ensemble that still remains undispersed. For these series Jan van den Hoecke created an original iconography, with no formal precedents. Comparison of the different versions allows for a deciphering of the Latin texts accompanying each depiction, and for an identification of their literal sources. Judging by the numerous versions, the series of Sibyls must have rewarded the artist with great success, a demand that he <br />satisfied with a changeable effort. <br /> <br />La autoría del pintor flamenco Jan van den Hoecke se reivindica en varias series de Sibilas, de variable número y calidad, atribuidas a otros pintores de la estela de Peter Paul Rubens en colecciones españolas y extranjeras, así como en el comercio del arte. Tanto las atribuciones como la identificación de los asuntos son objeto de una gran confusión que persiste y se esclarece en este artículo, en base a lo avanzado por Hans Vlieghe en 1990. Se sigue la pista de los diversos ejemplares hoy dispersos en la medida de lo posible, prestando especial atención a los lienzos del museo de Tessé de Le Mans, por ser el único ejemplo existente de una serie que se conserva unida. Jan van den Hoecke fue el creador de una iconografía original que se distancia de los precedentes formales. La comparación entre los diferentes ejemplares permite descifrar los textos en latín que acompañan cada representación, precisando sus fuentes literarias. A juzgar por la elevada cantidad de versiones localizadas, es tema que le proporcionó éxito y demanda que satisfizo con esfuerzo cambiante.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40277723" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="24093f76df2f0db5ff8e94451d3d9aca" rel="nofollow" data-download="{"attachment_id":60515190,"asset_id":40277723,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60515190/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="18855968" href="https://independent.academia.edu/JahelSanzsalazar">Jahel Sanzsalazar</a><script data-card-contents-for-user="18855968" type="text/json">{"id":18855968,"first_name":"Jahel","last_name":"Sanzsalazar","domain_name":"independent","page_name":"JahelSanzsalazar","display_name":"Jahel Sanzsalazar","profile_url":"https://independent.academia.edu/JahelSanzsalazar?f_ri=869","photo":"https://0.academia-photos.com/18855968/6261064/7090339/s65_jahel.sanzsalazar.jpg"}</script></span></span></li><li class="js-paper-rank-work_40277723 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40277723"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40277723, container: ".js-paper-rank-work_40277723", }); 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The persistent confusion both in terms of attribution and identification of the subject matter is clarified in this paper, following on from Hans Vlieghe’s 1990 evidence. Tracing the now dispersed series as far as possible, the present article pays special attention to the eleven canvasses at Tessé Museum, Le Mans, as they appear part of a unique ensemble that still remains undispersed. For these series Jan van den Hoecke created an original iconography, with no formal precedents. Comparison of the different versions allows for a deciphering of the Latin texts accompanying each depiction, and for an identification of their literal sources. Judging by the numerous versions, the series of Sibyls must have rewarded the artist with great success, a demand that he\r\nsatisfied with a changeable effort. \r\n\r\nLa autoría del pintor flamenco Jan van den Hoecke se reivindica en varias series de Sibilas, de variable número y calidad, atribuidas a otros pintores de la estela de Peter Paul Rubens en colecciones españolas y extranjeras, así como en el comercio del arte. Tanto las atribuciones como la identificación de los asuntos son objeto de una gran confusión que persiste y se esclarece en este artículo, en base a lo avanzado por Hans Vlieghe en 1990. Se sigue la pista de los diversos ejemplares hoy dispersos en la medida de lo posible, prestando especial atención a los lienzos del museo de Tessé de Le Mans, por ser el único ejemplo existente de una serie que se conserva unida. Jan van den Hoecke fue el creador de una iconografía original que se distancia de los precedentes formales. La comparación entre los diferentes ejemplares permite descifrar los textos en latín que acompañan cada representación, precisando sus fuentes literarias. A juzgar por la elevada cantidad de versiones localizadas, es tema que le proporcionó éxito y demanda que satisfizo con esfuerzo cambiante.","downloadable_attachments":[{"id":60515190,"asset_id":40277723,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":18855968,"first_name":"Jahel","last_name":"Sanzsalazar","domain_name":"independent","page_name":"JahelSanzsalazar","display_name":"Jahel Sanzsalazar","profile_url":"https://independent.academia.edu/JahelSanzsalazar?f_ri=869","photo":"https://0.academia-photos.com/18855968/6261064/7090339/s65_jahel.sanzsalazar.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=869","nofollow":true},{"id":5599,"name":"Authorship Attribution","url":"https://www.academia.edu/Documents/in/Authorship_Attribution?f_ri=869","nofollow":true},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=869","nofollow":true},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869"},{"id":27976,"name":"17th Century Netherlandish Art","url":"https://www.academia.edu/Documents/in/17th_Century_Netherlandish_Art?f_ri=869"},{"id":50407,"name":"Vestal Virgins, Sibyls, and Matrons: Roman Women in Religion","url":"https://www.academia.edu/Documents/in/Vestal_Virgins_Sibyls_and_Matrons_Roman_Women_in_Religion?f_ri=869"},{"id":51585,"name":"Flemish Painting","url":"https://www.academia.edu/Documents/in/Flemish_Painting?f_ri=869"},{"id":62891,"name":"Histoire de l'art","url":"https://www.academia.edu/Documents/in/Histoire_de_lart?f_ri=869"},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=869"},{"id":101118,"name":"Peter Paul Rubens","url":"https://www.academia.edu/Documents/in/Peter_Paul_Rubens?f_ri=869"},{"id":159686,"name":"16th and 17th century Dutch and Flemish Art","url":"https://www.academia.edu/Documents/in/16th_and_17th_century_Dutch_and_Flemish_Art?f_ri=869"},{"id":246736,"name":"Sibylline Oracles","url":"https://www.academia.edu/Documents/in/Sibylline_Oracles?f_ri=869"},{"id":1000284,"name":"17th Dutch and Flemish Paintings and Prints","url":"https://www.academia.edu/Documents/in/17th_Dutch_and_Flemish_Paintings_and_Prints?f_ri=869"},{"id":1230290,"name":"Pintura Flamenca","url":"https://www.academia.edu/Documents/in/Pintura_Flamenca?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35816962" data-work_id="35816962" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35816962/Ai_Apaec_una_divinidad_suprema_prehisp%C3%A1nica_o_una_manipulaci%C3%B3n_en_la_traducci%C3%B3n_intercultural_">Ai Apaec: ¿una divinidad suprema prehispánica o una manipulación en la traducción intercultural ?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Moche culture (A.D. 200‑800) has left one of the richest iconographies in the history of ancient Andean civilizations. Due to the lack of written sources for the pre‑Hispanic period of Andean South America, the first information about... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35816962" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Moche culture (A.D. 200‑800) has left one of the richest iconographies in the history of ancient Andean civilizations. Due to the lack of written sources for the pre‑Hispanic period of Andean South America, the first information about the religious beliefs and rituals of the people from the north coast came from early colonial time. These written sources provide revealing information about the concept of the principal god and even a supreme creator in the Moche pantheon, named Ai Apaec in muchic or yunga language. Actually, the understanding of Moche religion is based not only on the historical perspectives but also on information produced during the extensive study of its iconography. Despite the numerous studies about the Moche pantheon of gods and goddesses, the problem of number and identity of the deities still poses innumerable questions and obstacles. This article offers a reassessment of the character of symbolic organization of Moche religion, based on iconographic analysis of the famous portrait vessels (huacos retrato) from the collection of the Larco Museum in Lima, Peru.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35816962" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="32c9743bbc83983d87bcb4f6cc1d365a" rel="nofollow" data-download="{"attachment_id":55694076,"asset_id":35816962,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55694076/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="53281991" href="https://uw.academia.edu/PatrycjaPrz%C4%85dkaGiersz">Patrycja Prządka-Giersz</a><script data-card-contents-for-user="53281991" type="text/json">{"id":53281991,"first_name":"Patrycja","last_name":"Prządka-Giersz","domain_name":"uw","page_name":"PatrycjaPrządkaGiersz","display_name":"Patrycja Prządka-Giersz","profile_url":"https://uw.academia.edu/PatrycjaPrz%C4%85dkaGiersz?f_ri=869","photo":"https://0.academia-photos.com/53281991/18927040/18877607/s65_patrycja.prz_dka-giersz.jpg"}</script></span></span></li><li class="js-paper-rank-work_35816962 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35816962"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35816962, container: ".js-paper-rank-work_35816962", }); });</script></li><li class="js-percentile-work_35816962 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35816962; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35816962"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35816962 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35816962"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35816962; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35816962]").text(description); $(".js-view-count-work_35816962").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35816962").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35816962"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1789" rel="nofollow" href="https://www.academia.edu/Documents/in/Andean_Archaeology">Andean Archaeology</a>, <script data-card-contents-for-ri="1789" type="text/json">{"id":1789,"name":"Andean Archaeology","url":"https://www.academia.edu/Documents/in/Andean_Archaeology?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="38945" rel="nofollow" href="https://www.academia.edu/Documents/in/Arqueolog%C3%ADa">Arqueología</a>, <script data-card-contents-for-ri="38945" type="text/json">{"id":38945,"name":"Arqueología","url":"https://www.academia.edu/Documents/in/Arqueolog%C3%ADa?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="38946" rel="nofollow" href="https://www.academia.edu/Documents/in/Arqueolog%C3%ADa_Andina">Arqueología Andina</a><script data-card-contents-for-ri="38946" type="text/json">{"id":38946,"name":"Arqueología Andina","url":"https://www.academia.edu/Documents/in/Arqueolog%C3%ADa_Andina?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35816962]'), work: {"id":35816962,"title":"Ai Apaec: ¿una divinidad suprema prehispánica o una manipulación en la traducción intercultural ?","created_at":"2018-02-01T11:54:57.827-08:00","url":"https://www.academia.edu/35816962/Ai_Apaec_una_divinidad_suprema_prehisp%C3%A1nica_o_una_manipulaci%C3%B3n_en_la_traducci%C3%B3n_intercultural_?f_ri=869","dom_id":"work_35816962","summary":"The Moche culture (A.D. 200‑800) has left one of the richest iconographies in the history of ancient Andean civilizations. Due to the lack of written sources for the pre‑Hispanic period of Andean South America, the first information about the religious beliefs and rituals of the people from the north coast came from early colonial time. These written sources provide revealing information about the concept of the principal god and even a supreme creator in the Moche pantheon, named Ai Apaec in muchic or yunga language. Actually, the understanding of Moche religion is based not only on the historical perspectives but also on information produced during the extensive study of its iconography. Despite the numerous studies about the Moche pantheon of gods and goddesses, the problem of number and identity of the deities still poses innumerable questions and obstacles. This article offers a reassessment of the character of symbolic organization of Moche religion, based on iconographic analysis of the famous portrait vessels (huacos retrato) from the collection of the Larco Museum in Lima, Peru.","downloadable_attachments":[{"id":55694076,"asset_id":35816962,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":53281991,"first_name":"Patrycja","last_name":"Prządka-Giersz","domain_name":"uw","page_name":"PatrycjaPrządkaGiersz","display_name":"Patrycja Prządka-Giersz","profile_url":"https://uw.academia.edu/PatrycjaPrz%C4%85dkaGiersz?f_ri=869","photo":"https://0.academia-photos.com/53281991/18927040/18877607/s65_patrycja.prz_dka-giersz.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":1789,"name":"Andean Archaeology","url":"https://www.academia.edu/Documents/in/Andean_Archaeology?f_ri=869","nofollow":true},{"id":38945,"name":"Arqueología","url":"https://www.academia.edu/Documents/in/Arqueolog%C3%ADa?f_ri=869","nofollow":true},{"id":38946,"name":"Arqueología Andina","url":"https://www.academia.edu/Documents/in/Arqueolog%C3%ADa_Andina?f_ri=869","nofollow":true},{"id":58339,"name":"Andean studies","url":"https://www.academia.edu/Documents/in/Andean_studies?f_ri=869"},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869"},{"id":420208,"name":"Arqueologia De La Costa Norte Del Peru","url":"https://www.academia.edu/Documents/in/Arqueologia_De_La_Costa_Norte_Del_Peru?f_ri=869"},{"id":2574018,"name":"Arqueologia Costa Norte","url":"https://www.academia.edu/Documents/in/Arqueologia_Costa_Norte?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3356445" data-work_id="3356445" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3356445/Sleipnir_the_eight_legged_horse_and_Viking_Age_sail_technology">Sleipnir the eight legged horse and Viking Age sail technology</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3356445" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7f96384e653b755c90878ec185a47a03" rel="nofollow" data-download="{"attachment_id":31166046,"asset_id":3356445,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31166046/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="527885" href="https://roskildemuseum.academia.edu/OleKastholm">Ole Kastholm</a><script data-card-contents-for-user="527885" type="text/json">{"id":527885,"first_name":"Ole","last_name":"Kastholm","domain_name":"roskildemuseum","page_name":"OleKastholm","display_name":"Ole Kastholm","profile_url":"https://roskildemuseum.academia.edu/OleKastholm?f_ri=869","photo":"https://0.academia-photos.com/527885/187166/226911/s65_ole.kastholm.jpg"}</script></span></span></li><li class="js-paper-rank-work_3356445 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3356445"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3356445, container: ".js-paper-rank-work_3356445", }); 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Vaccaro, Il mosaico pavimentale: frammenti, connessioni, visioni, in San Tommaso ad Acquanegra sul Chiese. Storia, architettura e contesto figurativo di una chiesa abbaziale romanica, a cura di F. Scirea, Quigentole (Mn) 2015, pp. 251-274.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In 1899, part of the floor of the church of San Tommaso collapsed, revealing a Medieval mosaic pavement. Arthur K. Porter believed that it was the only surviving part of the ancient Benedictine abbey, but he also asserted that it was «the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_16702407" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In 1899, part of the floor of the church of San Tommaso collapsed, revealing a Medieval mosaic pavement. Arthur K. Porter believed that it was the only surviving part of the ancient Benedictine abbey, but he also asserted that it was «the daintiest and most charming» Romanesque mosaic he ever saw. <br />In my paper, I will first clarify the process of rediscovery of the mosaic through archival documents, as well as the conservative actions managed by the Ufficio Regionale ai Monumenti and the Ministero delle Belle Arti. The mosaic was left in loco and closed with removable wooden boards that allowed its preservation till today.<br />After considering the geometrical elements of its composition, its ornamental motives and its figured subjects, I will provide a graphic reconstruction of the mosaic which is also part of a 3D rendering of the church, and clearly presents the surviving mosaic fragments in relation to the architectonical structures.<br />My analysis will focus on the figures and their semantic value investigating their iconographic details and their connection to the written culture i.e. Christian literature, classical texts, or astronomic and naturalistic treatises. Such a study will allow to recognize the negative connotations of «ydra», «[cer]berus», «Sinon» and the ass located in the northern nave’s section of the mosaic. The semantic and figurative connections of these figures with “evil” and “hell” are confirmed by the dark ‘setting’ and the proximity to the left/Damned side of the Last Judgment painted on the counter façade. Furthermore, I would argue that the presence of these negative figures must be associated to St. Jerome’s writing. Such association is crucial, because references to St. Jerome, to his life, his culture, and his writings, often occur in San Tommaso.<br />The southern nave mosaic differs in colours and figures: it is mostly white, instead of black, and is figured with zoomorphic and vegetal elements. The general semantic value is rather positive, and is probably influenced by Abraham’s bosom painted on the right/Saved side of the Last Judgment. <br />In the main nave only a few fragments are preserved, but the presence of Birds drinking from the chalice hint to a clearly Eucharistic meaning. Probably this section of the mosaic decorated the area surrounding a nave altar.<br />I will then compare San Tommaso’s mosaic with other Italian pavements, especially those from Cremona and the Po valley, but also with other figurative sources, such as illuminated manuscripts, are given. For example, I will consider the «cerberus» in relation to the only surviving manuscript from the library of San Tommaso (now Canon. Pat. Lat. 148, Oxford, Bodleian Library) and to the rare spread-eagled figure included in Ms. 99 from Montecassino.<br />I will discuss how figurative themes were connected to each other or were given a different connotation depending on their location, i.e. in the case of the ass, whose value is negative when next to ‘infernal’ figures in the pavement, but positive on the wall paintings as ‘obedient’ animal. <br />I will relate figures to architectural spaces, e.g. the altar in the Sanctuary as most sacred pole in the building, and to the main directional axes East/West, North/South, high/low, according to their symbolic meaning in Christian literature.<br />Finally I will argue that the mosaic figures contribute to the ‘hierarchy’ of the spaces in the church, creating a complex image-system where meanings of the figural elements are valid before their fruition, either by laics or, most likely, by monks who could read images also like warning visions of the Afterlife.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16702407" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="244218" href="https://salerno.academia.edu/MaddalenaVaccaro">Maddalena Vaccaro</a><script data-card-contents-for-user="244218" type="text/json">{"id":244218,"first_name":"Maddalena","last_name":"Vaccaro","domain_name":"salerno","page_name":"MaddalenaVaccaro","display_name":"Maddalena Vaccaro","profile_url":"https://salerno.academia.edu/MaddalenaVaccaro?f_ri=869","photo":"https://0.academia-photos.com/244218/914995/9062058/s65_maddalena.vaccaro.jpg"}</script></span></span></li><li class="js-paper-rank-work_16702407 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16702407"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16702407, container: ".js-paper-rank-work_16702407", }); 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Vaccaro, Il mosaico pavimentale: frammenti, connessioni, visioni, in San Tommaso ad Acquanegra sul Chiese. Storia, architettura e contesto figurativo di una chiesa abbaziale romanica, a cura di F. Scirea, Quigentole (Mn) 2015, pp. 251-274.","created_at":"2015-10-12T10:23:35.713-07:00","url":"https://www.academia.edu/16702407/M_Vaccaro_Il_mosaico_pavimentale_frammenti_connessioni_visioni_in_San_Tommaso_ad_Acquanegra_sul_Chiese_Storia_architettura_e_contesto_figurativo_di_una_chiesa_abbaziale_romanica_a_cura_di_F_Scirea_Quigentole_Mn_2015_pp_251_274?f_ri=869","dom_id":"work_16702407","summary":"In 1899, part of the floor of the church of San Tommaso collapsed, revealing a Medieval mosaic pavement. Arthur K. Porter believed that it was the only surviving part of the ancient Benedictine abbey, but he also asserted that it was «the daintiest and most charming» Romanesque mosaic he ever saw. \nIn my paper, I will first clarify the process of rediscovery of the mosaic through archival documents, as well as the conservative actions managed by the Ufficio Regionale ai Monumenti and the Ministero delle Belle Arti. The mosaic was left in loco and closed with removable wooden boards that allowed its preservation till today.\nAfter considering the geometrical elements of its composition, its ornamental motives and its figured subjects, I will provide a graphic reconstruction of the mosaic which is also part of a 3D rendering of the church, and clearly presents the surviving mosaic fragments in relation to the architectonical structures.\nMy analysis will focus on the figures and their semantic value investigating their iconographic details and their connection to the written culture i.e. Christian literature, classical texts, or astronomic and naturalistic treatises. Such a study will allow to recognize the negative connotations of «ydra», «[cer]berus», «Sinon» and the ass located in the northern nave’s section of the mosaic. The semantic and figurative connections of these figures with “evil” and “hell” are confirmed by the dark ‘setting’ and the proximity to the left/Damned side of the Last Judgment painted on the counter façade. Furthermore, I would argue that the presence of these negative figures must be associated to St. Jerome’s writing. Such association is crucial, because references to St. Jerome, to his life, his culture, and his writings, often occur in San Tommaso.\nThe southern nave mosaic differs in colours and figures: it is mostly white, instead of black, and is figured with zoomorphic and vegetal elements. The general semantic value is rather positive, and is probably influenced by Abraham’s bosom painted on the right/Saved side of the Last Judgment. \nIn the main nave only a few fragments are preserved, but the presence of Birds drinking from the chalice hint to a clearly Eucharistic meaning. Probably this section of the mosaic decorated the area surrounding a nave altar.\nI will then compare San Tommaso’s mosaic with other Italian pavements, especially those from Cremona and the Po valley, but also with other figurative sources, such as illuminated manuscripts, are given. For example, I will consider the «cerberus» in relation to the only surviving manuscript from the library of San Tommaso (now Canon. Pat. Lat. 148, Oxford, Bodleian Library) and to the rare spread-eagled figure included in Ms. 99 from Montecassino.\nI will discuss how figurative themes were connected to each other or were given a different connotation depending on their location, i.e. in the case of the ass, whose value is negative when next to ‘infernal’ figures in the pavement, but positive on the wall paintings as ‘obedient’ animal. \nI will relate figures to architectural spaces, e.g. the altar in the Sanctuary as most sacred pole in the building, and to the main directional axes East/West, North/South, high/low, according to their symbolic meaning in Christian literature.\nFinally I will argue that the mosaic figures contribute to the ‘hierarchy’ of the spaces in the church, creating a complex image-system where meanings of the figural elements are valid before their fruition, either by laics or, most likely, by monks who could read images also like warning visions of the Afterlife. ","downloadable_attachments":[],"ordered_authors":[{"id":244218,"first_name":"Maddalena","last_name":"Vaccaro","domain_name":"salerno","page_name":"MaddalenaVaccaro","display_name":"Maddalena Vaccaro","profile_url":"https://salerno.academia.edu/MaddalenaVaccaro?f_ri=869","photo":"https://0.academia-photos.com/244218/914995/9062058/s65_maddalena.vaccaro.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":2049,"name":"Patristics","url":"https://www.academia.edu/Documents/in/Patristics?f_ri=869","nofollow":true},{"id":17045,"name":"Romanesque Art","url":"https://www.academia.edu/Documents/in/Romanesque_Art?f_ri=869","nofollow":true},{"id":22386,"name":"Medieval Art","url":"https://www.academia.edu/Documents/in/Medieval_Art?f_ri=869","nofollow":true},{"id":26894,"name":"Medieval illuminated manuscripts","url":"https://www.academia.edu/Documents/in/Medieval_illuminated_manuscripts?f_ri=869"},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869"},{"id":90199,"name":"Medieval Iconography","url":"https://www.academia.edu/Documents/in/Medieval_Iconography?f_ri=869"},{"id":91865,"name":"Iconography and Iconology","url":"https://www.academia.edu/Documents/in/Iconography_and_Iconology?f_ri=869"},{"id":105880,"name":"Pavement Mosaics","url":"https://www.academia.edu/Documents/in/Pavement_Mosaics?f_ri=869"},{"id":545362,"name":"Miniatura medievale","url":"https://www.academia.edu/Documents/in/Miniatura_medievale?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43854221" data-work_id="43854221" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43854221/Iconoclasmo_tra_Oriente_e_Occidente_Aspetti_storici_politici_religiosi_e_dottrinali_della_controversia_iconoclastica">Iconoclasmo tra Oriente e Occidente Aspetti storici, politici, religiosi e dottrinali della controversia iconoclastica</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Sin dalla fine del secolo IV, la parte orientale dell’impero romano, in seguito divenuto impero bizantino, era stato afflitto da molteplici eresie, che rischiavano seriamente di minare e di compromettere la sua stessa unità. Le più... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43854221" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Sin dalla fine del secolo IV, la parte orientale dell’impero romano, in seguito divenuto impero bizantino, era stato afflitto da molteplici eresie, che rischiavano seriamente di minare e di compromettere la sua stessa unità. Le più importanti tra queste eresie, erano il nestorianesimo , il monofisismo  e il paulicianesimo . Quest’ultima eresia, era sorta in Armenia e in Siria nel secolo VII. <br />Secondo le fonti, il basileus Leone III, incominciò ad appoggiare gli iconoclasti per una serie di motivi: prima di tutto subì le pressioni dei vescovi iconoclasti dell’Asia Minore a favore dell’iconoclasmo; inoltre sembrerebbe che tutta una serie di disastri naturali, ultimo dei quali un devastante maremoto nel mar Egeo, convincesse l’imperatore bizantino, che tali disastri naturali, fossero dovuti all’ira divina contro la venerazione delle icone. Difficile ad ogni modo stabilire quanto di vero ci sia in questi resoconti, e sui reali motivi per cui fu introdotta l’iconoclastia.  <br />La riforma religiosa del basileus Leone III, andrebbe verosimilmente iscritta in una più ampia opera volta a rafforzare la stabilità e la solidità dell’Impero, ai fini della quale i pauliciani rappresentavano un pericolo. Fu anche per togliere loro il pretesto di una ribellione che probabilmente Leone III, decise di assecondare le loro richieste.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43854221" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a1cb53758a9fb20ed932fdf3882af8d9" rel="nofollow" data-download="{"attachment_id":64177521,"asset_id":43854221,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64177521/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13980546" href="https://independent.academia.edu/LorisDerni">Loris Derni</a><script data-card-contents-for-user="13980546" type="text/json">{"id":13980546,"first_name":"Loris","last_name":"Derni","domain_name":"independent","page_name":"LorisDerni","display_name":"Loris Derni","profile_url":"https://independent.academia.edu/LorisDerni?f_ri=869","photo":"https://0.academia-photos.com/13980546/3862794/4644396/s65_loris.derni.jpg"}</script></span></span></li><li class="js-paper-rank-work_43854221 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43854221"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43854221, container: ".js-paper-rank-work_43854221", }); });</script></li><li class="js-percentile-work_43854221 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43854221; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43854221"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43854221 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43854221"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43854221; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43854221]").text(description); $(".js-view-count-work_43854221").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43854221").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43854221"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5135" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconoclasm">Iconoclasm</a>, <script data-card-contents-for-ri="5135" type="text/json">{"id":5135,"name":"Iconoclasm","url":"https://www.academia.edu/Documents/in/Iconoclasm?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14639" rel="nofollow" href="https://www.academia.edu/Documents/in/Byzantine_Iconography">Byzantine Iconography</a>, <script data-card-contents-for-ri="14639" type="text/json">{"id":14639,"name":"Byzantine Iconography","url":"https://www.academia.edu/Documents/in/Byzantine_Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="27032" rel="nofollow" href="https://www.academia.edu/Documents/in/Christian_Iconography">Christian Iconography</a><script data-card-contents-for-ri="27032" type="text/json">{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43854221]'), work: {"id":43854221,"title":"Iconoclasmo tra Oriente e Occidente Aspetti storici, politici, religiosi e dottrinali della controversia iconoclastica","created_at":"2020-08-13T23:36:09.610-07:00","url":"https://www.academia.edu/43854221/Iconoclasmo_tra_Oriente_e_Occidente_Aspetti_storici_politici_religiosi_e_dottrinali_della_controversia_iconoclastica?f_ri=869","dom_id":"work_43854221","summary":"Sin dalla fine del secolo IV, la parte orientale dell’impero romano, in seguito divenuto impero bizantino, era stato afflitto da molteplici eresie, che rischiavano seriamente di minare e di compromettere la sua stessa unità. Le più importanti tra queste eresie, erano il nestorianesimo , il monofisismo e il paulicianesimo . Quest’ultima eresia, era sorta in Armenia e in Siria nel secolo VII. \nSecondo le fonti, il basileus Leone III, incominciò ad appoggiare gli iconoclasti per una serie di motivi: prima di tutto subì le pressioni dei vescovi iconoclasti dell’Asia Minore a favore dell’iconoclasmo; inoltre sembrerebbe che tutta una serie di disastri naturali, ultimo dei quali un devastante maremoto nel mar Egeo, convincesse l’imperatore bizantino, che tali disastri naturali, fossero dovuti all’ira divina contro la venerazione delle icone. Difficile ad ogni modo stabilire quanto di vero ci sia in questi resoconti, e sui reali motivi per cui fu introdotta l’iconoclastia. \nLa riforma religiosa del basileus Leone III, andrebbe verosimilmente iscritta in una più ampia opera volta a rafforzare la stabilità e la solidità dell’Impero, ai fini della quale i pauliciani rappresentavano un pericolo. Fu anche per togliere loro il pretesto di una ribellione che probabilmente Leone III, decise di assecondare le loro richieste.\n","downloadable_attachments":[{"id":64177521,"asset_id":43854221,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13980546,"first_name":"Loris","last_name":"Derni","domain_name":"independent","page_name":"LorisDerni","display_name":"Loris Derni","profile_url":"https://independent.academia.edu/LorisDerni?f_ri=869","photo":"https://0.academia-photos.com/13980546/3862794/4644396/s65_loris.derni.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":5135,"name":"Iconoclasm","url":"https://www.academia.edu/Documents/in/Iconoclasm?f_ri=869","nofollow":true},{"id":14639,"name":"Byzantine Iconography","url":"https://www.academia.edu/Documents/in/Byzantine_Iconography?f_ri=869","nofollow":true},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869","nofollow":true},{"id":29064,"name":"Iconoclastic Controversy and Iconophilia","url":"https://www.academia.edu/Documents/in/Iconoclastic_Controversy_and_Iconophilia?f_ri=869"},{"id":31870,"name":"Iconology","url":"https://www.academia.edu/Documents/in/Iconology?f_ri=869"},{"id":90199,"name":"Medieval Iconography","url":"https://www.academia.edu/Documents/in/Medieval_Iconography?f_ri=869"},{"id":91865,"name":"Iconography and Iconology","url":"https://www.academia.edu/Documents/in/Iconography_and_Iconology?f_ri=869"},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869"},{"id":131169,"name":"Byzantine Iconoclasm","url":"https://www.academia.edu/Documents/in/Byzantine_Iconoclasm?f_ri=869"},{"id":171635,"name":"Archeologia Bizantina","url":"https://www.academia.edu/Documents/in/Archeologia_Bizantina?f_ri=869"},{"id":306486,"name":"Arte sacra","url":"https://www.academia.edu/Documents/in/Arte_sacra?f_ri=869"},{"id":385297,"name":"Iconografia bizantina","url":"https://www.academia.edu/Documents/in/Iconografia_bizantina?f_ri=869"},{"id":527665,"name":"Iconoclasmo","url":"https://www.academia.edu/Documents/in/Iconoclasmo?f_ri=869"},{"id":635399,"name":"Storia dell'arte bizantina","url":"https://www.academia.edu/Documents/in/Storia_dellarte_bizantina?f_ri=869"},{"id":868656,"name":"Iconologia","url":"https://www.academia.edu/Documents/in/Iconologia?f_ri=869"},{"id":1012846,"name":"Basileus","url":"https://www.academia.edu/Documents/in/Basileus?f_ri=869"},{"id":1034245,"name":"Islamic Iconoclasm","url":"https://www.academia.edu/Documents/in/Islamic_Iconoclasm?f_ri=869"},{"id":1280372,"name":"Iconoclastia","url":"https://www.academia.edu/Documents/in/Iconoclastia?f_ri=869"},{"id":1330219,"name":"Iconoclasm and Vandalism","url":"https://www.academia.edu/Documents/in/Iconoclasm_and_Vandalism?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5653778" data-work_id="5653778" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5653778/Gender_in_Hohokam_Imagery_and_Landscape_Sutherland_Wash_Rock_Art_District_Coronado_National_Forest_Arizona">Gender in Hohokam Imagery and Landscape: Sutherland Wash Rock Art District, Coronado National Forest, Arizona</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Hohokam anthropomorphs in Tucson area rock art have been characterized as having little detail and rare indications of female gender. New information from 28 loci in the Sutherland Wash Rock Art District based on a recently completed... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5653778" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Hohokam anthropomorphs in Tucson area rock art have been characterized as having little detail and rare indications of female gender. New information from 28 loci in the Sutherland Wash Rock Art District based on a recently completed recording project has provided an opportunity to compare 419 anthropomorphs, of which 129 (32%) were clearly gendered in approximately equal numbers, either male or female. Vulva forms and apparent attempts to illustrate "family" and "birthing" are also pictured repeatedly. In addition, the site includes a granitic landscape with natural yoni and phallus formations and boulders with a large number of cupules.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5653778" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e993dc5d36b2934255d47104941a4de2" rel="nofollow" data-download="{"attachment_id":32713748,"asset_id":5653778,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32713748/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2571146" href="https://arizona.academia.edu/JanineHernbrode">Janine Hernbrode</a><script data-card-contents-for-user="2571146" type="text/json">{"id":2571146,"first_name":"Janine","last_name":"Hernbrode","domain_name":"arizona","page_name":"JanineHernbrode","display_name":"Janine Hernbrode","profile_url":"https://arizona.academia.edu/JanineHernbrode?f_ri=869","photo":"https://0.academia-photos.com/2571146/13037077/14379219/s65_janine.hernbrode.jpg"}</script></span></span></li><li class="js-paper-rank-work_5653778 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5653778"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5653778, container: ".js-paper-rank-work_5653778", }); });</script></li><li class="js-percentile-work_5653778 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 5653778; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_5653778"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5653778 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5653778"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5653778; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5653778]").text(description); $(".js-view-count-work_5653778").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5653778").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5653778"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="155697" rel="nofollow" href="https://www.academia.edu/Documents/in/Petroglyphs">Petroglyphs</a>, <script data-card-contents-for-ri="155697" type="text/json">{"id":155697,"name":"Petroglyphs","url":"https://www.academia.edu/Documents/in/Petroglyphs?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="952546" rel="nofollow" href="https://www.academia.edu/Documents/in/Hohokam">Hohokam</a><script data-card-contents-for-ri="952546" type="text/json">{"id":952546,"name":"Hohokam","url":"https://www.academia.edu/Documents/in/Hohokam?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5653778]'), work: {"id":5653778,"title":"Gender in Hohokam Imagery and Landscape: Sutherland Wash Rock Art District, Coronado National Forest, Arizona","created_at":"2014-01-08T22:58:38.372-08:00","url":"https://www.academia.edu/5653778/Gender_in_Hohokam_Imagery_and_Landscape_Sutherland_Wash_Rock_Art_District_Coronado_National_Forest_Arizona?f_ri=869","dom_id":"work_5653778","summary":"Hohokam anthropomorphs in Tucson area rock art have been characterized as having little detail and rare indications of female gender. New information from 28 loci in the Sutherland Wash Rock Art District based on a recently completed recording project has provided an opportunity to compare 419 anthropomorphs, of which 129 (32%) were clearly gendered in approximately equal numbers, either male or female. Vulva forms and apparent attempts to illustrate \"family\" and \"birthing\" are also pictured repeatedly. In addition, the site includes a granitic landscape with natural yoni and phallus formations and boulders with a large number of cupules.","downloadable_attachments":[{"id":32713748,"asset_id":5653778,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2571146,"first_name":"Janine","last_name":"Hernbrode","domain_name":"arizona","page_name":"JanineHernbrode","display_name":"Janine Hernbrode","profile_url":"https://arizona.academia.edu/JanineHernbrode?f_ri=869","photo":"https://0.academia-photos.com/2571146/13037077/14379219/s65_janine.hernbrode.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":155697,"name":"Petroglyphs","url":"https://www.academia.edu/Documents/in/Petroglyphs?f_ri=869","nofollow":true},{"id":952546,"name":"Hohokam","url":"https://www.academia.edu/Documents/in/Hohokam?f_ri=869","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30362056" data-work_id="30362056" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30362056/Regina_di_quadri_Liconografia_pittorica_di_Maria_Carolina">Regina di quadri. L'iconografia pittorica di Maria Carolina</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Never entirely analyzed until now, the pictorial iconography of Maria Carolina looks more vivacious and interesting than that of her sister Marie-Antoinette, queen of France, both for its various languages from different countries, as the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30362056" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Never entirely analyzed until now, the pictorial iconography of Maria Carolina looks more vivacious and interesting than that of her sister Marie-Antoinette, queen of France, both for its various languages from different countries, as the Neapolitan late baroque, the French rococo, the German neoclassic, and for the iconography and the iconology, as shown by the suggestive presence of the Antique, the allusions to the maternity and even some Masonic references.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30362056" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="83eac7883d14946037c1d3321ed388f6" rel="nofollow" data-download="{"attachment_id":50814042,"asset_id":30362056,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50814042/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22061110" href="https://unina2.academia.edu/GiulioBrevetti">Giulio Brevetti</a><script data-card-contents-for-user="22061110" type="text/json">{"id":22061110,"first_name":"Giulio","last_name":"Brevetti","domain_name":"unina2","page_name":"GiulioBrevetti","display_name":"Giulio Brevetti","profile_url":"https://unina2.academia.edu/GiulioBrevetti?f_ri=869","photo":"https://0.academia-photos.com/22061110/6034137/34369857/s65_giulio.brevetti.jpg"}</script></span></span></li><li class="js-paper-rank-work_30362056 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30362056"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30362056, container: ".js-paper-rank-work_30362056", }); 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$(".js-view-count[data-work-id=30362056]").text(description); $(".js-view-count-work_30362056").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30362056").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30362056"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="875" rel="nofollow" href="https://www.academia.edu/Documents/in/Portraits">Portraits</a>, <script data-card-contents-for-ri="875" type="text/json">{"id":875,"name":"Portraits","url":"https://www.academia.edu/Documents/in/Portraits?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6633" rel="nofollow" href="https://www.academia.edu/Documents/in/Habsburg_Studies">Habsburg Studies</a>, <script data-card-contents-for-ri="6633" type="text/json">{"id":6633,"name":"Habsburg Studies","url":"https://www.academia.edu/Documents/in/Habsburg_Studies?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10796" rel="nofollow" href="https://www.academia.edu/Documents/in/Portraiture">Portraiture</a><script data-card-contents-for-ri="10796" type="text/json">{"id":10796,"name":"Portraiture","url":"https://www.academia.edu/Documents/in/Portraiture?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30362056]'), work: {"id":30362056,"title":"Regina di quadri. L'iconografia pittorica di Maria Carolina","created_at":"2016-12-10T02:55:08.849-08:00","url":"https://www.academia.edu/30362056/Regina_di_quadri_Liconografia_pittorica_di_Maria_Carolina?f_ri=869","dom_id":"work_30362056","summary":"Never entirely analyzed until now, the pictorial iconography of Maria Carolina looks more vivacious and interesting than that of her sister Marie-Antoinette, queen of France, both for its various languages from different countries, as the Neapolitan late baroque, the French rococo, the German neoclassic, and for the iconography and the iconology, as shown by the suggestive presence of the Antique, the allusions to the maternity and even some Masonic references.","downloadable_attachments":[{"id":50814042,"asset_id":30362056,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22061110,"first_name":"Giulio","last_name":"Brevetti","domain_name":"unina2","page_name":"GiulioBrevetti","display_name":"Giulio Brevetti","profile_url":"https://unina2.academia.edu/GiulioBrevetti?f_ri=869","photo":"https://0.academia-photos.com/22061110/6034137/34369857/s65_giulio.brevetti.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":875,"name":"Portraits","url":"https://www.academia.edu/Documents/in/Portraits?f_ri=869","nofollow":true},{"id":6633,"name":"Habsburg Studies","url":"https://www.academia.edu/Documents/in/Habsburg_Studies?f_ri=869","nofollow":true},{"id":10796,"name":"Portraiture","url":"https://www.academia.edu/Documents/in/Portraiture?f_ri=869","nofollow":true},{"id":43648,"name":"Naples","url":"https://www.academia.edu/Documents/in/Naples?f_ri=869"},{"id":56632,"name":"Maternity","url":"https://www.academia.edu/Documents/in/Maternity?f_ri=869"},{"id":61659,"name":"Queenship in Medieval and Early Modern Europe","url":"https://www.academia.edu/Documents/in/Queenship_in_Medieval_and_Early_Modern_Europe?f_ri=869"},{"id":82903,"name":"Neoclassicism","url":"https://www.academia.edu/Documents/in/Neoclassicism?f_ri=869"},{"id":96097,"name":"Motherhood","url":"https://www.academia.edu/Documents/in/Motherhood?f_ri=869"},{"id":102672,"name":"The Kingdom of Naples","url":"https://www.academia.edu/Documents/in/The_Kingdom_of_Naples?f_ri=869"},{"id":103599,"name":"Masonic Studies","url":"https://www.academia.edu/Documents/in/Masonic_Studies?f_ri=869"},{"id":120560,"name":"Masonry","url":"https://www.academia.edu/Documents/in/Masonry?f_ri=869"},{"id":167496,"name":"Marie Antoinette","url":"https://www.academia.edu/Documents/in/Marie_Antoinette?f_ri=869"},{"id":219146,"name":"Cultural History of Naples and Campania","url":"https://www.academia.edu/Documents/in/Cultural_History_of_Naples_and_Campania?f_ri=869"},{"id":302250,"name":"Anton Raphael Mengs","url":"https://www.academia.edu/Documents/in/Anton_Raphael_Mengs?f_ri=869"},{"id":317754,"name":"Habsburg Monarchy in the 18th century","url":"https://www.academia.edu/Documents/in/Habsburg_Monarchy_in_the_18th_century?f_ri=869"},{"id":425772,"name":"Massoneria","url":"https://www.academia.edu/Documents/in/Massoneria?f_ri=869"},{"id":468613,"name":"Royal Iconography","url":"https://www.academia.edu/Documents/in/Royal_Iconography?f_ri=869"},{"id":548884,"name":"Storia del Regno di Napoli","url":"https://www.academia.edu/Documents/in/Storia_del_Regno_di_Napoli?f_ri=869"},{"id":1028773,"name":"Portraiture and the Problematic of Representation","url":"https://www.academia.edu/Documents/in/Portraiture_and_the_Problematic_of_Representation?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35859560" data-work_id="35859560" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35859560/Two_Modes_of_Midcentury_Iconology">Two Modes of Midcentury Iconology</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A B S T R A C T In this essay, Edgar Wind's and Erwin Panofsky's practices of art historical iconology are interpreted through their respective adaptations of the epistemological premises of American Pragmatism and German neo-Kantianism.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35859560" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A B S T R A C T In this essay, Edgar Wind's and Erwin Panofsky's practices of art historical iconology are interpreted through their respective adaptations of the epistemological premises of American Pragmatism and German neo-Kantianism. By leveraging the history of these intellectual traditions alongside Wind's and Panofsky's programmatic statements, the essay identifies a central and much overlooked difference between Wind's and Panofsky's scholarship that speaks to long-standing questions of hermeneutics. Against this background, Wind's and Panofsky's corresponding yet divergent appeals to the writings of early modern neo-Platonists to make their iconological arguments are interpreted as symptoms of their own twentieth-century philosophical commitments. The implications of the abstract epistemological distinction that is initially drawn between Wind's and Panofsky's scholarship are then tracked through their disagreement over Titian's Venus Blinding Cupid. By culminating with a discussion of Panofsky's and Wind's analyses of this specific painting, this essay attempts to identify two specific instances of the unity of theory and practice within art historical interpretation and to assess the lasting value of Wind's and Panofsky's scholarship.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35859560" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="722e40789d9302ffa1ea415d81a4bddf" rel="nofollow" data-download="{"attachment_id":56195190,"asset_id":35859560,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56195190/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3352078" href="https://berkeley.academia.edu/COliverODonnell">C. Oliver O'Donnell</a><script data-card-contents-for-user="3352078" type="text/json">{"id":3352078,"first_name":"C. Oliver","last_name":"O'Donnell","domain_name":"berkeley","page_name":"COliverODonnell","display_name":"C. Oliver O'Donnell","profile_url":"https://berkeley.academia.edu/COliverODonnell?f_ri=869","photo":"https://0.academia-photos.com/3352078/1123454/119330940/s65_c._oliver.o_donnell.jpeg"}</script></span></span></li><li class="js-paper-rank-work_35859560 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35859560"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35859560, container: ".js-paper-rank-work_35859560", }); });</script></li><li class="js-percentile-work_35859560 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35859560; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35859560"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35859560 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35859560"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35859560; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35859560]").text(description); $(".js-view-count-work_35859560").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35859560").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35859560"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="893" rel="nofollow" href="https://www.academia.edu/Documents/in/Pragmatism">Pragmatism</a>, <script data-card-contents-for-ri="893" type="text/json">{"id":893,"name":"Pragmatism","url":"https://www.academia.edu/Documents/in/Pragmatism?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13110" rel="nofollow" href="https://www.academia.edu/Documents/in/Charles_S._Peirce">Charles S. Peirce</a>, <script data-card-contents-for-ri="13110" type="text/json">{"id":13110,"name":"Charles S. Peirce","url":"https://www.academia.edu/Documents/in/Charles_S._Peirce?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15352" rel="nofollow" href="https://www.academia.edu/Documents/in/Historiography_in_Art_History_">Historiography (in Art History)</a><script data-card-contents-for-ri="15352" type="text/json">{"id":15352,"name":"Historiography (in Art History)","url":"https://www.academia.edu/Documents/in/Historiography_in_Art_History_?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35859560]'), work: {"id":35859560,"title":"Two Modes of Midcentury Iconology","created_at":"2018-02-07T04:33:54.797-08:00","url":"https://www.academia.edu/35859560/Two_Modes_of_Midcentury_Iconology?f_ri=869","dom_id":"work_35859560","summary":"A B S T R A C T In this essay, Edgar Wind's and Erwin Panofsky's practices of art historical iconology are interpreted through their respective adaptations of the epistemological premises of American Pragmatism and German neo-Kantianism. By leveraging the history of these intellectual traditions alongside Wind's and Panofsky's programmatic statements, the essay identifies a central and much overlooked difference between Wind's and Panofsky's scholarship that speaks to long-standing questions of hermeneutics. Against this background, Wind's and Panofsky's corresponding yet divergent appeals to the writings of early modern neo-Platonists to make their iconological arguments are interpreted as symptoms of their own twentieth-century philosophical commitments. The implications of the abstract epistemological distinction that is initially drawn between Wind's and Panofsky's scholarship are then tracked through their disagreement over Titian's Venus Blinding Cupid. By culminating with a discussion of Panofsky's and Wind's analyses of this specific painting, this essay attempts to identify two specific instances of the unity of theory and practice within art historical interpretation and to assess the lasting value of Wind's and Panofsky's scholarship.","downloadable_attachments":[{"id":56195190,"asset_id":35859560,"asset_type":"Work","always_allow_download":false},{"id":56195050,"asset_id":35859560,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3352078,"first_name":"C. Oliver","last_name":"O'Donnell","domain_name":"berkeley","page_name":"COliverODonnell","display_name":"C. Oliver O'Donnell","profile_url":"https://berkeley.academia.edu/COliverODonnell?f_ri=869","photo":"https://0.academia-photos.com/3352078/1123454/119330940/s65_c._oliver.o_donnell.jpeg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":893,"name":"Pragmatism","url":"https://www.academia.edu/Documents/in/Pragmatism?f_ri=869","nofollow":true},{"id":13110,"name":"Charles S. Peirce","url":"https://www.academia.edu/Documents/in/Charles_S._Peirce?f_ri=869","nofollow":true},{"id":15352,"name":"Historiography (in Art History)","url":"https://www.academia.edu/Documents/in/Historiography_in_Art_History_?f_ri=869","nofollow":true},{"id":25387,"name":"Ernst Cassirer","url":"https://www.academia.edu/Documents/in/Ernst_Cassirer?f_ri=869"},{"id":31062,"name":"Neo-Kantianism","url":"https://www.academia.edu/Documents/in/Neo-Kantianism?f_ri=869"},{"id":31870,"name":"Iconology","url":"https://www.academia.edu/Documents/in/Iconology?f_ri=869"},{"id":46641,"name":"Titian","url":"https://www.academia.edu/Documents/in/Titian?f_ri=869"},{"id":91865,"name":"Iconography and Iconology","url":"https://www.academia.edu/Documents/in/Iconography_and_Iconology?f_ri=869"},{"id":183906,"name":"Erwin Panofsky","url":"https://www.academia.edu/Documents/in/Erwin_Panofsky?f_ri=869"},{"id":245326,"name":"Edgar Wind","url":"https://www.academia.edu/Documents/in/Edgar_Wind?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32437999" data-work_id="32437999" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32437999/EZEKIELS_MERKABAH_IN_CHARTRES_CATHEDRAL">EZEKIEL'S MERKABAH IN CHARTRES CATHEDRAL</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">PROLOGUE of this paper is an extreme detail analysis of Chartres Cathedral's the symbolism embedded into the three Rose Windows. The whole purpose of this paper is to illustrate how Ezekiel's Merkabah is symbolized by the North and South... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32437999" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">PROLOGUE of this paper is an extreme detail analysis of Chartres Cathedral's the symbolism embedded into the three Rose Windows. The whole purpose of this paper is to illustrate how Ezekiel's Merkabah is symbolized by the North and South Rose Windows. This analysis will demonstrate the pivotal esoteric teaching of the Roman Catholic Church. The history of Chartres will be discussed along with some of its sculpture. This is the second paper in a three part series on the analysis of Ezekiel's Merkabah. Part-One of the series will be on Ezekiel's Merkabah in the first chapter of Genesis and Part Three will be on Ezekiel's Merkabah laid out symbolically in the Sistine Chapel. Part-Two of the series is published first; because, I was well into writing it and; because, I had already written a paper on Ezekiel's Merkabah in the first chapter of Genesis; however, that second version has to be revised to incorporate other interpretations of the texts of the first chapter of Genesis in order for the initiate to envisage the symbolism laid out in Chartres Cathedral and the Sistine Chapel.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32437999" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="82e2a6503c274bde541f287a9463c266" rel="nofollow" data-download="{"attachment_id":52746915,"asset_id":32437999,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52746915/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3551996" href="https://independent.academia.edu/WilliamJohnMeegan">William John Meegan</a><script data-card-contents-for-user="3551996" type="text/json">{"id":3551996,"first_name":"William John","last_name":"Meegan","domain_name":"independent","page_name":"WilliamJohnMeegan","display_name":"William John Meegan","profile_url":"https://independent.academia.edu/WilliamJohnMeegan?f_ri=869","photo":"https://0.academia-photos.com/3551996/1225881/145100487/s65_william_john.meegan.png"}</script></span></span></li><li class="js-paper-rank-work_32437999 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32437999"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32437999, container: ".js-paper-rank-work_32437999", }); 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$(".js-view-count[data-work-id=32437999]").text(description); $(".js-view-count-work_32437999").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32437999").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32437999"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5135" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconoclasm">Iconoclasm</a>, <script data-card-contents-for-ri="5135" type="text/json">{"id":5135,"name":"Iconoclasm","url":"https://www.academia.edu/Documents/in/Iconoclasm?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7322" rel="nofollow" href="https://www.academia.edu/Documents/in/Mysticism">Mysticism</a>, <script data-card-contents-for-ri="7322" type="text/json">{"id":7322,"name":"Mysticism","url":"https://www.academia.edu/Documents/in/Mysticism?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7370" rel="nofollow" href="https://www.academia.edu/Documents/in/Symbolism">Symbolism</a><script data-card-contents-for-ri="7370" type="text/json">{"id":7370,"name":"Symbolism","url":"https://www.academia.edu/Documents/in/Symbolism?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32437999]'), work: {"id":32437999,"title":"EZEKIEL'S MERKABAH IN CHARTRES CATHEDRAL","created_at":"2017-04-15T11:26:29.224-07:00","url":"https://www.academia.edu/32437999/EZEKIELS_MERKABAH_IN_CHARTRES_CATHEDRAL?f_ri=869","dom_id":"work_32437999","summary":"PROLOGUE of this paper is an extreme detail analysis of Chartres Cathedral's the symbolism embedded into the three Rose Windows. The whole purpose of this paper is to illustrate how Ezekiel's Merkabah is symbolized by the North and South Rose Windows. This analysis will demonstrate the pivotal esoteric teaching of the Roman Catholic Church. The history of Chartres will be discussed along with some of its sculpture. This is the second paper in a three part series on the analysis of Ezekiel's Merkabah. Part-One of the series will be on Ezekiel's Merkabah in the first chapter of Genesis and Part Three will be on Ezekiel's Merkabah laid out symbolically in the Sistine Chapel. Part-Two of the series is published first; because, I was well into writing it and; because, I had already written a paper on Ezekiel's Merkabah in the first chapter of Genesis; however, that second version has to be revised to incorporate other interpretations of the texts of the first chapter of Genesis in order for the initiate to envisage the symbolism laid out in Chartres Cathedral and the Sistine Chapel.","downloadable_attachments":[{"id":52746915,"asset_id":32437999,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3551996,"first_name":"William John","last_name":"Meegan","domain_name":"independent","page_name":"WilliamJohnMeegan","display_name":"William John Meegan","profile_url":"https://independent.academia.edu/WilliamJohnMeegan?f_ri=869","photo":"https://0.academia-photos.com/3551996/1225881/145100487/s65_william_john.meegan.png"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":5135,"name":"Iconoclasm","url":"https://www.academia.edu/Documents/in/Iconoclasm?f_ri=869","nofollow":true},{"id":7322,"name":"Mysticism","url":"https://www.academia.edu/Documents/in/Mysticism?f_ri=869","nofollow":true},{"id":7370,"name":"Symbolism","url":"https://www.academia.edu/Documents/in/Symbolism?f_ri=869","nofollow":true},{"id":8272,"name":"Transubstantiation","url":"https://www.academia.edu/Documents/in/Transubstantiation?f_ri=869"},{"id":8721,"name":"Trinity","url":"https://www.academia.edu/Documents/in/Trinity?f_ri=869"},{"id":40122,"name":"Roman Catholicism","url":"https://www.academia.edu/Documents/in/Roman_Catholicism?f_ri=869"},{"id":60357,"name":"Western Esotericism","url":"https://www.academia.edu/Documents/in/Western_Esotericism?f_ri=869"},{"id":73993,"name":"Transfiguration","url":"https://www.academia.edu/Documents/in/Transfiguration?f_ri=869"},{"id":91579,"name":"Theology of the Cross","url":"https://www.academia.edu/Documents/in/Theology_of_the_Cross?f_ri=869"},{"id":142338,"name":"Chartres","url":"https://www.academia.edu/Documents/in/Chartres?f_ri=869"},{"id":457349,"name":"Merkavah Mysticism","url":"https://www.academia.edu/Documents/in/Merkavah_Mysticism?f_ri=869"},{"id":593699,"name":"The Synoptic Gospels","url":"https://www.academia.edu/Documents/in/The_Synoptic_Gospels?f_ri=869"},{"id":971132,"name":"Philosophy | Sevenfold Canon of the Liberal Arts : Quadruvium | Ars Arithmetica","url":"https://www.academia.edu/Documents/in/Philosophy_Sevenfold_Canon_of_the_Liberal_Arts_Quadruvium_Ars_Arithmetica?f_ri=869"},{"id":993089,"name":"Rose Windows","url":"https://www.academia.edu/Documents/in/Rose_Windows?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39643280" data-work_id="39643280" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39643280/R_Cioffi_Storie_e_leggende_di_un_principe_e_della_sua_cappella_Da_Raimondo_di_Sangro_a_Benedetto_Croce_in_Napoli_Nobilissima_serie_VII_volume_V_fascicolo_I_gennaio_aprile_2019_pp_37_47">R. Cioffi, "Storie e leggende di un principe e della sua cappella. Da Raimondo di Sangro a Benedetto Croce", in "Napoli Nobilissima", serie VII, volume V, fascicolo I, gennaio-aprile 2019, pp. 37-47</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The present article deals with the Prince of Sansevero, Raimondo di Sangro, and legends, often linked to real happenings, which over time were superimposed on this personage and his reknowned family chapel. To a great extent his... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39643280" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The present article deals with the Prince of Sansevero, Raimondo di Sangro, and legends, often linked to real happenings, which over time were superimposed on this personage and his reknowned family chapel. To a great extent his reputation was of his own making, exagerated by the imagination of the populace and amplified by newspaper articles, brief essays, and stories by Southern Italian intellectuals in the late 19th century. Capuana, Colonna di Stigliano, Di Giacomo, and Croce, who were the foremost voices of the time in the literature of the South of Italy, wrote about the Prince and his mysteries. Lured by suggestions from the place he built and dwelt in, they too contributed to a myth that still today fascinates tourists and curious visitors from all over the world.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39643280" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c5f6bc6e5236aef05e611311585edb87" rel="nofollow" data-download="{"attachment_id":59806879,"asset_id":39643280,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59806879/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="58864268" href="https://unina2.academia.edu/RosannaCioffi1">Rosanna Cioffi</a><script data-card-contents-for-user="58864268" type="text/json">{"id":58864268,"first_name":"Rosanna","last_name":"Cioffi","domain_name":"unina2","page_name":"RosannaCioffi1","display_name":"Rosanna Cioffi","profile_url":"https://unina2.academia.edu/RosannaCioffi1?f_ri=869","photo":"https://0.academia-photos.com/58864268/17748192/18676950/s65_rosanna.cioffi.jpg"}</script></span></span></li><li class="js-paper-rank-work_39643280 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39643280"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39643280, container: ".js-paper-rank-work_39643280", }); 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Cioffi, \"Storie e leggende di un principe e della sua cappella. Da Raimondo di Sangro a Benedetto Croce\", in \"Napoli Nobilissima\", serie VII, volume V, fascicolo I, gennaio-aprile 2019, pp. 37-47","created_at":"2019-06-20T05:44:22.249-07:00","url":"https://www.academia.edu/39643280/R_Cioffi_Storie_e_leggende_di_un_principe_e_della_sua_cappella_Da_Raimondo_di_Sangro_a_Benedetto_Croce_in_Napoli_Nobilissima_serie_VII_volume_V_fascicolo_I_gennaio_aprile_2019_pp_37_47?f_ri=869","dom_id":"work_39643280","summary":"The present article deals with the Prince of Sansevero, Raimondo di Sangro, and legends, often linked to real happenings, which over time were superimposed on this personage and his reknowned family chapel. To a great extent his reputation was of his own making, exagerated by the imagination of the populace and amplified by newspaper articles, brief essays, and stories by Southern Italian intellectuals in the late 19th century. Capuana, Colonna di Stigliano, Di Giacomo, and Croce, who were the foremost voices of the time in the literature of the South of Italy, wrote about the Prince and his mysteries. Lured by suggestions from the place he built and dwelt in, they too contributed to a myth that still today fascinates tourists and curious visitors from all over the world.","downloadable_attachments":[{"id":59806879,"asset_id":39643280,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":58864268,"first_name":"Rosanna","last_name":"Cioffi","domain_name":"unina2","page_name":"RosannaCioffi1","display_name":"Rosanna Cioffi","profile_url":"https://unina2.academia.edu/RosannaCioffi1?f_ri=869","photo":"https://0.academia-photos.com/58864268/17748192/18676950/s65_rosanna.cioffi.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=869","nofollow":true},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=869","nofollow":true},{"id":31870,"name":"Iconology","url":"https://www.academia.edu/Documents/in/Iconology?f_ri=869","nofollow":true},{"id":69386,"name":"Benedetto Croce","url":"https://www.academia.edu/Documents/in/Benedetto_Croce?f_ri=869"},{"id":91865,"name":"Iconography and Iconology","url":"https://www.academia.edu/Documents/in/Iconography_and_Iconology?f_ri=869"},{"id":97839,"name":"STORIA DELL'ARTE","url":"https://www.academia.edu/Documents/in/STORIA_DELLARTE?f_ri=869"},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869"},{"id":425772,"name":"Massoneria","url":"https://www.academia.edu/Documents/in/Massoneria?f_ri=869"},{"id":548884,"name":"Storia del Regno di Napoli","url":"https://www.academia.edu/Documents/in/Storia_del_Regno_di_Napoli?f_ri=869"},{"id":868656,"name":"Iconologia","url":"https://www.academia.edu/Documents/in/Iconologia?f_ri=869"},{"id":2708429,"name":"Cappella Sansevero di Napoli","url":"https://www.academia.edu/Documents/in/Cappella_Sansevero_di_Napoli?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_16313020 coauthored" data-work_id="16313020" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/16313020/2015_F_Scirea_ed_San_Tommaso_ad_Acquanegra_sul_Chiese_Storia_architettura_e_contesto_figurativo_di_una_chiesa_abbaziale_romanica_The_Romanesque_Abbey_of_San_Tommaso_at_Acquanegra_sul_Chiese_Mantova_With_summaries_in_English">2015 F. Scirea (ed.), San Tommaso ad Acquanegra sul Chiese. Storia, architettura e contesto figurativo di una chiesa abbaziale romanica [The Romanesque Abbey of San Tommaso at Acquanegra sul Chiese (Mantova)]. With summaries in English</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Romanesque decoration of the church of San Tommaso in Acquanegra sul Chiese (Mantua, Lombardy), formerly a Benedictine abbey church and now a parish church, is the result of a single project that can be attributed to the long-lived... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_16313020" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Romanesque decoration of the church of San Tommaso in Acquanegra sul Chiese (Mantua, Lombardy), formerly a Benedictine abbey church and now a parish church, is the result of a single project that can be attributed to the long-lived and enigmatic Abbot Peter (chronicled in 1101, 1119 and 1130). According to its architectural features (Piva in this volume, Architecture) and the archaeological evidence (Gallina, Breda in this volume), the church was built around the middle of the eleventh century, or slightly later, as an aisled basilica with a transept, a deep presbytery raised on a crypt-oratory, and three apses. It was done in brickwork and covered with a wooden roof. <br />At the beginning of the twelfth century Abbot Peter had the nave and the presbytery raised (by 2.20 metres) and the clerestory windows enlarged, in order to considerably increase the brightness as well as the surface area on which an impressive painted cycle would unfold, modestly preserved today and split by late Renaissance vaults. The decoration was executed in two stages (first the presbytery, then the nave) by different painters, who may have been hired by a single workshop, and was completed soon after by a figurative mosaic pavement (Vaccaro in this volume). The paintings and mosaics were so closely connected to the architecture as to allow us speak of a visual device, involved in the dynamics of the monastic liturgical space.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/16313020" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="170f9b16486ad0e5ee37e6d4c0ef55fb" rel="nofollow" data-download="{"attachment_id":39424421,"asset_id":16313020,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39424421/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3337752" href="https://unimi.academia.edu/FabioScirea">Fabio Scirea</a><script data-card-contents-for-user="3337752" type="text/json">{"id":3337752,"first_name":"Fabio","last_name":"Scirea","domain_name":"unimi","page_name":"FabioScirea","display_name":"Fabio Scirea","profile_url":"https://unimi.academia.edu/FabioScirea?f_ri=869","photo":"https://0.academia-photos.com/3337752/1118977/39535215/s65_fabio.scirea.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-16313020">+7</span><div class="hidden js-additional-users-16313020"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unicas.academia.edu/GiuliaOrofino">Giulia Orofino</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unimi.academia.edu/RossanaGuglielmetti">Rossana Guglielmetti</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unimi.academia.edu/StellaFerrari">Stella Ferrari</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://salerno.academia.edu/MaddalenaVaccaro">Maddalena Vaccaro</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/DarioGallina">Dario Gallina</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://beniculturali.academia.edu/BenedettaChiesi">Benedetta Chiesi</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unimi.academia.edu/SilviaBiancaTosatti">Silvia Bianca Tosatti</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-16313020'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-16313020').html(); 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Scirea (ed.), San Tommaso ad Acquanegra sul Chiese. Storia, architettura e contesto figurativo di una chiesa abbaziale romanica [The Romanesque Abbey of San Tommaso at Acquanegra sul Chiese (Mantova)]. With summaries in English","created_at":"2015-09-30T00:22:16.185-07:00","url":"https://www.academia.edu/16313020/2015_F_Scirea_ed_San_Tommaso_ad_Acquanegra_sul_Chiese_Storia_architettura_e_contesto_figurativo_di_una_chiesa_abbaziale_romanica_The_Romanesque_Abbey_of_San_Tommaso_at_Acquanegra_sul_Chiese_Mantova_With_summaries_in_English?f_ri=869","dom_id":"work_16313020","summary":"The Romanesque decoration of the church of San Tommaso in Acquanegra sul Chiese (Mantua, Lombardy), formerly a Benedictine abbey church and now a parish church, is the result of a single project that can be attributed to the long-lived and enigmatic Abbot Peter (chronicled in 1101, 1119 and 1130). According to its architectural features (Piva in this volume, Architecture) and the archaeological evidence (Gallina, Breda in this volume), the church was built around the middle of the eleventh century, or slightly later, as an aisled basilica with a transept, a deep presbytery raised on a crypt-oratory, and three apses. It was done in brickwork and covered with a wooden roof. \nAt the beginning of the twelfth century Abbot Peter had the nave and the presbytery raised (by 2.20 metres) and the clerestory windows enlarged, in order to considerably increase the brightness as well as the surface area on which an impressive painted cycle would unfold, modestly preserved today and split by late Renaissance vaults. The decoration was executed in two stages (first the presbytery, then the nave) by different painters, who may have been hired by a single workshop, and was completed soon after by a figurative mosaic pavement (Vaccaro in this volume). The paintings and mosaics were so closely connected to the architecture as to allow us speak of a visual device, involved in the dynamics of the monastic liturgical space.","downloadable_attachments":[{"id":39424421,"asset_id":16313020,"asset_type":"Work","always_allow_download":false},{"id":38938955,"asset_id":16313020,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3337752,"first_name":"Fabio","last_name":"Scirea","domain_name":"unimi","page_name":"FabioScirea","display_name":"Fabio Scirea","profile_url":"https://unimi.academia.edu/FabioScirea?f_ri=869","photo":"https://0.academia-photos.com/3337752/1118977/39535215/s65_fabio.scirea.jpg"},{"id":1025367,"first_name":"Giulia","last_name":"Orofino","domain_name":"unicas","page_name":"GiuliaOrofino","display_name":"Giulia Orofino","profile_url":"https://unicas.academia.edu/GiuliaOrofino?f_ri=869","photo":"https://0.academia-photos.com/1025367/875285/1092611/s65_giulia.orofino.jpg"},{"id":6611925,"first_name":"Rossana","last_name":"Guglielmetti","domain_name":"unimi","page_name":"RossanaGuglielmetti","display_name":"Rossana Guglielmetti","profile_url":"https://unimi.academia.edu/RossanaGuglielmetti?f_ri=869","photo":"https://0.academia-photos.com/6611925/2637173/57399213/s65_rossana.guglielmetti.jpg"},{"id":23205024,"first_name":"Stella","last_name":"Ferrari","domain_name":"unimi","page_name":"StellaFerrari","display_name":"Stella Ferrari","profile_url":"https://unimi.academia.edu/StellaFerrari?f_ri=869","photo":"https://0.academia-photos.com/23205024/6298638/7130182/s65_stella.ferrari.jpg"},{"id":244218,"first_name":"Maddalena","last_name":"Vaccaro","domain_name":"salerno","page_name":"MaddalenaVaccaro","display_name":"Maddalena Vaccaro","profile_url":"https://salerno.academia.edu/MaddalenaVaccaro?f_ri=869","photo":"https://0.academia-photos.com/244218/914995/9062058/s65_maddalena.vaccaro.jpg"},{"id":891164,"first_name":"Dario","last_name":"Gallina","domain_name":"independent","page_name":"DarioGallina","display_name":"Dario Gallina","profile_url":"https://independent.academia.edu/DarioGallina?f_ri=869","photo":"https://0.academia-photos.com/891164/457079/571561/s65_dario.gallina.jpg"},{"id":1836221,"first_name":"Benedetta","last_name":"Chiesi","domain_name":"beniculturali","page_name":"BenedettaChiesi","display_name":"Benedetta Chiesi","profile_url":"https://beniculturali.academia.edu/BenedettaChiesi?f_ri=869","photo":"https://0.academia-photos.com/1836221/625154/775575/s65_benedetta.chiesi.jpg"},{"id":19226439,"first_name":"Silvia Bianca","last_name":"Tosatti","domain_name":"unimi","page_name":"SilviaBiancaTosatti","display_name":"Silvia Bianca 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medievale","url":"https://www.academia.edu/Documents/in/Archeologia_medievale?f_ri=869"},{"id":85970,"name":"Romanesque Wall Painting","url":"https://www.academia.edu/Documents/in/Romanesque_Wall_Painting?f_ri=869"},{"id":90199,"name":"Medieval Iconography","url":"https://www.academia.edu/Documents/in/Medieval_Iconography?f_ri=869"},{"id":105880,"name":"Pavement Mosaics","url":"https://www.academia.edu/Documents/in/Pavement_Mosaics?f_ri=869"},{"id":126947,"name":"Romanesque Archaeology","url":"https://www.academia.edu/Documents/in/Romanesque_Archaeology?f_ri=869"},{"id":873110,"name":"Romanesque Illuminated Manuscripts","url":"https://www.academia.edu/Documents/in/Romanesque_Illuminated_Manuscripts?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3029535" data-work_id="3029535" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3029535/The_Gods_of_the_Directions_in_Ancient_India_Origin_and_Early_Development_in_Art_and_Literature_until_c_1000_A_D_">The Gods of the Directions in Ancient India: Origin and Early Development in Art and Literature (until c. 1000 A.D.)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This is a slightly revised version of my doctoral thesis, in which I have attempted to assemble all the available evidence on the genesis and early development of the directional guardians in Indian culture (mainly Brahmanical / Hindu).... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3029535" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a slightly revised version of my doctoral thesis, in which I have attempted to assemble all the available evidence on the genesis and early development of the directional guardians in Indian culture (mainly Brahmanical / Hindu). The term "Ancient India" should not hide the fact that this group of minor deities continues to occupy an important place in Indic religious practices.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3029535" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="acefcbcd598d8d0a27ab6daf93974765" rel="nofollow" data-download="{"attachment_id":34331896,"asset_id":3029535,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34331896/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3341677" href="https://institutfutur.academia.edu/CorinnaWesselsMevissen">Corinna Wessels-Mevissen</a><script data-card-contents-for-user="3341677" type="text/json">{"id":3341677,"first_name":"Corinna","last_name":"Wessels-Mevissen","domain_name":"institutfutur","page_name":"CorinnaWesselsMevissen","display_name":"Corinna Wessels-Mevissen","profile_url":"https://institutfutur.academia.edu/CorinnaWesselsMevissen?f_ri=869","photo":"https://0.academia-photos.com/3341677/1119343/104671230/s65_corinna.wessels-mevissen.jpg"}</script></span></span></li><li class="js-paper-rank-work_3029535 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3029535"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3029535, container: ".js-paper-rank-work_3029535", }); 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$(".js-view-count[data-work-id=3029535]").text(description); $(".js-view-count-work_3029535").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3029535").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3029535"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2059" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_Religion">History of Religion</a>, <script data-card-contents-for-ri="2059" type="text/json">{"id":2059,"name":"History of Religion","url":"https://www.academia.edu/Documents/in/History_of_Religion?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3558" rel="nofollow" href="https://www.academia.edu/Documents/in/South_Asian_Studies">South Asian Studies</a>, <script data-card-contents-for-ri="3558" type="text/json">{"id":3558,"name":"South Asian Studies","url":"https://www.academia.edu/Documents/in/South_Asian_Studies?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="12899" rel="nofollow" href="https://www.academia.edu/Documents/in/South_Asian_Archaeology">South Asian Archaeology</a><script data-card-contents-for-ri="12899" type="text/json">{"id":12899,"name":"South Asian Archaeology","url":"https://www.academia.edu/Documents/in/South_Asian_Archaeology?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3029535]'), work: {"id":3029535,"title":"The Gods of the Directions in Ancient India: Origin and Early Development in Art and Literature (until c. 1000 A.D.)","created_at":"2013-03-16T07:52:14.148-07:00","url":"https://www.academia.edu/3029535/The_Gods_of_the_Directions_in_Ancient_India_Origin_and_Early_Development_in_Art_and_Literature_until_c_1000_A_D_?f_ri=869","dom_id":"work_3029535","summary":"This is a slightly revised version of my doctoral thesis, in which I have attempted to assemble all the available evidence on the genesis and early development of the directional guardians in Indian culture (mainly Brahmanical / Hindu). The term \"Ancient India\" should not hide the fact that this group of minor deities continues to occupy an important place in Indic religious practices.","downloadable_attachments":[{"id":34331896,"asset_id":3029535,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3341677,"first_name":"Corinna","last_name":"Wessels-Mevissen","domain_name":"institutfutur","page_name":"CorinnaWesselsMevissen","display_name":"Corinna Wessels-Mevissen","profile_url":"https://institutfutur.academia.edu/CorinnaWesselsMevissen?f_ri=869","photo":"https://0.academia-photos.com/3341677/1119343/104671230/s65_corinna.wessels-mevissen.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":2059,"name":"History of Religion","url":"https://www.academia.edu/Documents/in/History_of_Religion?f_ri=869","nofollow":true},{"id":3558,"name":"South Asian Studies","url":"https://www.academia.edu/Documents/in/South_Asian_Studies?f_ri=869","nofollow":true},{"id":12899,"name":"South Asian Archaeology","url":"https://www.academia.edu/Documents/in/South_Asian_Archaeology?f_ri=869","nofollow":true},{"id":19091,"name":"South Asian Art","url":"https://www.academia.edu/Documents/in/South_Asian_Art?f_ri=869"},{"id":479880,"name":"Indian art and architecture","url":"https://www.academia.edu/Documents/in/Indian_art_and_architecture?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37850660" data-work_id="37850660" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37850660/The_Holy_Spirit_and_the_Icon_A_critical_consideration_of_Eastern_Orthodox_theology_of_the_icon_in_relation_to_Orthodox_pneumatology">The Holy Spirit and the Icon: A critical consideration of Eastern Orthodox theology of the icon in relation to Orthodox pneumatology</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this text I look at Eastern Orthodoxy pneumatology in relation to the theology of the Icon. I argue that the exclusivity of the Icon as the only expression of art within the Eastern Orthodox Church has inconsistencies with the doctrine... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37850660" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this text I look at Eastern Orthodoxy pneumatology in relation to the theology of the Icon. I argue that the exclusivity of the Icon as the only expression of art within the Eastern Orthodox Church has inconsistencies with the doctrine of theosis and the Holy Spirit as the sanctifier of the whole of creation. Instead the pneumatology of Eastern Orthodox theology has the potential for a wider artistic expression.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37850660" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1b1faf51f11c8e8322ee7105704e0c0a" rel="nofollow" data-download="{"attachment_id":57854942,"asset_id":37850660,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57854942/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1616426" href="https://ths.academia.edu/JosephSverker">Joseph Sverker</a><script data-card-contents-for-user="1616426" type="text/json">{"id":1616426,"first_name":"Joseph","last_name":"Sverker","domain_name":"ths","page_name":"JosephSverker","display_name":"Joseph Sverker","profile_url":"https://ths.academia.edu/JosephSverker?f_ri=869","photo":"https://0.academia-photos.com/1616426/563940/702624/s65_joseph.sverker.jpg"}</script></span></span></li><li class="js-paper-rank-work_37850660 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37850660"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37850660, container: ".js-paper-rank-work_37850660", }); 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$(".js-view-count[data-work-id=37850660]").text(description); $(".js-view-count-work_37850660").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37850660").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37850660"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2561" rel="nofollow" href="https://www.academia.edu/Documents/in/Systematic_Theology">Systematic Theology</a>, <script data-card-contents-for-ri="2561" type="text/json">{"id":2561,"name":"Systematic Theology","url":"https://www.academia.edu/Documents/in/Systematic_Theology?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10708" rel="nofollow" href="https://www.academia.edu/Documents/in/Cappadocians">Cappadocians</a>, <script data-card-contents-for-ri="10708" type="text/json">{"id":10708,"name":"Cappadocians","url":"https://www.academia.edu/Documents/in/Cappadocians?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10709" rel="nofollow" href="https://www.academia.edu/Documents/in/Irenaeus">Irenaeus</a><script data-card-contents-for-ri="10709" type="text/json">{"id":10709,"name":"Irenaeus","url":"https://www.academia.edu/Documents/in/Irenaeus?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37850660]'), work: {"id":37850660,"title":"The Holy Spirit and the Icon: A critical consideration of Eastern Orthodox theology of the icon in relation to Orthodox pneumatology","created_at":"2018-11-26T00:43:10.227-08:00","url":"https://www.academia.edu/37850660/The_Holy_Spirit_and_the_Icon_A_critical_consideration_of_Eastern_Orthodox_theology_of_the_icon_in_relation_to_Orthodox_pneumatology?f_ri=869","dom_id":"work_37850660","summary":"In this text I look at Eastern Orthodoxy pneumatology in relation to the theology of the Icon. I argue that the exclusivity of the Icon as the only expression of art within the Eastern Orthodox Church has inconsistencies with the doctrine of theosis and the Holy Spirit as the sanctifier of the whole of creation. Instead the pneumatology of Eastern Orthodox theology has the potential for a wider artistic expression.","downloadable_attachments":[{"id":57854942,"asset_id":37850660,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1616426,"first_name":"Joseph","last_name":"Sverker","domain_name":"ths","page_name":"JosephSverker","display_name":"Joseph Sverker","profile_url":"https://ths.academia.edu/JosephSverker?f_ri=869","photo":"https://0.academia-photos.com/1616426/563940/702624/s65_joseph.sverker.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":2561,"name":"Systematic Theology","url":"https://www.academia.edu/Documents/in/Systematic_Theology?f_ri=869","nofollow":true},{"id":10708,"name":"Cappadocians","url":"https://www.academia.edu/Documents/in/Cappadocians?f_ri=869","nofollow":true},{"id":10709,"name":"Irenaeus","url":"https://www.academia.edu/Documents/in/Irenaeus?f_ri=869","nofollow":true},{"id":10714,"name":"Pneumatology","url":"https://www.academia.edu/Documents/in/Pneumatology?f_ri=869"},{"id":90128,"name":"John of Damascus","url":"https://www.academia.edu/Documents/in/John_of_Damascus?f_ri=869"},{"id":131169,"name":"Byzantine Iconoclasm","url":"https://www.academia.edu/Documents/in/Byzantine_Iconoclasm?f_ri=869"},{"id":319405,"name":"Eastern Orthodox Theology","url":"https://www.academia.edu/Documents/in/Eastern_Orthodox_Theology?f_ri=869"},{"id":2495991,"name":"Leonid Ouspensky","url":"https://www.academia.edu/Documents/in/Leonid_Ouspensky?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37373148" data-work_id="37373148" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37373148/DEVOCI%C3%93N_Y_PATRIMONIO_DE_NUESTRA_SE%C3%91ORA_DE_LAS_ANGUSTIAS_O_DE_LA_PIEDAD_EN_LA_DI%C3%93CESIS_DE_BAEZA_JA%C3%89N">DEVOCIÓN Y PATRIMONIO DE NUESTRA SEÑORA DE LAS ANGUSTIAS O DE LA PIEDAD EN LA DIÓCESIS DE BAEZA-JAÉN</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Se estudian brevemente todas las cofradías de las Angustias que hay en la diócesis de Baeza-Jaén y su influencia con la archidiócesis de Granada.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37373148" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="62268ce7b711948a3895deab91031a44" rel="nofollow" data-download="{"attachment_id":57335115,"asset_id":37373148,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57335115/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33725339" href="https://ieshnosmachado.academia.edu/PLoriteCruz">Pablo Jesús Lorite Cruz</a><script data-card-contents-for-user="33725339" type="text/json">{"id":33725339,"first_name":"Pablo Jesús","last_name":"Lorite Cruz","domain_name":"ieshnosmachado","page_name":"PLoriteCruz","display_name":"Pablo Jesús Lorite Cruz","profile_url":"https://ieshnosmachado.academia.edu/PLoriteCruz?f_ri=869","photo":"https://0.academia-photos.com/33725339/10102406/11271363/s65_pablo_jes_s.lorite_cruz.jpg"}</script></span></span></li><li class="js-paper-rank-work_37373148 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37373148"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37373148, container: ".js-paper-rank-work_37373148", }); 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$(".js-view-count[data-work-id=37373148]").text(description); $(".js-view-count-work_37373148").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37373148").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37373148"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="27032" rel="nofollow" href="https://www.academia.edu/Documents/in/Christian_Iconography">Christian Iconography</a>, <script data-card-contents-for-ri="27032" type="text/json">{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="79037" rel="nofollow" href="https://www.academia.edu/Documents/in/Historia_del_Arte">Historia del Arte</a><script data-card-contents-for-ri="79037" type="text/json">{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37373148]'), work: {"id":37373148,"title":"DEVOCIÓN Y PATRIMONIO DE NUESTRA SEÑORA DE LAS ANGUSTIAS O DE LA PIEDAD EN LA DIÓCESIS DE BAEZA-JAÉN","created_at":"2018-09-10T04:17:11.692-07:00","url":"https://www.academia.edu/37373148/DEVOCI%C3%93N_Y_PATRIMONIO_DE_NUESTRA_SE%C3%91ORA_DE_LAS_ANGUSTIAS_O_DE_LA_PIEDAD_EN_LA_DI%C3%93CESIS_DE_BAEZA_JA%C3%89N?f_ri=869","dom_id":"work_37373148","summary":"Se estudian brevemente todas las cofradías de las Angustias que hay en la diócesis de Baeza-Jaén y su influencia con la archidiócesis de Granada.","downloadable_attachments":[{"id":57335115,"asset_id":37373148,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33725339,"first_name":"Pablo Jesús","last_name":"Lorite Cruz","domain_name":"ieshnosmachado","page_name":"PLoriteCruz","display_name":"Pablo Jesús Lorite Cruz","profile_url":"https://ieshnosmachado.academia.edu/PLoriteCruz?f_ri=869","photo":"https://0.academia-photos.com/33725339/10102406/11271363/s65_pablo_jes_s.lorite_cruz.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=869","nofollow":true},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869","nofollow":true},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=869","nofollow":true},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869"},{"id":233399,"name":"Baeza","url":"https://www.academia.edu/Documents/in/Baeza?f_ri=869"},{"id":486367,"name":"Úbeda (Jaén)","url":"https://www.academia.edu/Documents/in/Ubeda_Jaen_?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44221072" data-work_id="44221072" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44221072/La_Bohemia_de_Trujillo_100_a%C3%B1os_despu%C3%A9s">La Bohemia de Trujillo, 100 años después</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Catálogo de la exposición bibliográfica coordinada por Carlos Fernández y Valentino Gianuzzi. En agosto de 2016, el Centro Cultural Inca Garcilaso rindió homenaje a uno de los grupos literarios más célebres del Perú, del que formó parte... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44221072" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Catálogo de la exposición bibliográfica coordinada por Carlos Fernández y Valentino Gianuzzi. En agosto de 2016, el Centro Cultural Inca Garcilaso rindió homenaje a uno de los grupos literarios más célebres del Perú, del que formó parte César Vallejo, el más ilustre de sus miembros. Y lo hizo a través de una exposición bibliográfica que nos acercaba a su mundo y ponía de manifiesto los alcances de este grupo de jóvenes que reunió a varias de las figuras más determinantes de la vida cultural y política del Perú. Los documentos e imágenes aquí reproducidos y anotados pertenecen en su mayoría al periodo comprendido entre la aparición de la revista Iris, en mayo de 1914, y la publicación del periódico El Norte, en febrero de 1923; la etapa mejor conocida de las actividades artísticas del grupo trujillano, así como de su creciente actividad política. Además de celebrar a la Bohemia de Trujillo y arrojar luz sobre ella, este catálogo pretende impulsar nuevos estudios sobre los aspectos menos conocidos de la biografía intelectual del grupo.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44221072" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="57cdde6a1923f4c970222d1e6c5cd999" rel="nofollow" data-download="{"attachment_id":64588348,"asset_id":44221072,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64588348/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="108967656" href="https://independent.academia.edu/Fern%C3%A1ndezL%C3%B3pezCarlos">Carlos Fernández López</a><script data-card-contents-for-user="108967656" type="text/json">{"id":108967656,"first_name":"Carlos","last_name":"Fernández López","domain_name":"independent","page_name":"FernándezLópezCarlos","display_name":"Carlos Fernández López","profile_url":"https://independent.academia.edu/Fern%C3%A1ndezL%C3%B3pezCarlos?f_ri=869","photo":"https://0.academia-photos.com/108967656/26137249/132416968/s65_carlos.fern_ndez_l_pez.jpg"}</script></span></span></li><li class="js-paper-rank-work_44221072 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44221072"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44221072, container: ".js-paper-rank-work_44221072", }); 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itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/320074/M_Vaccaro_La_scacchiera_del_mosaico_di_S_Savino_Due_letture_della_virt%C3%B9_in_Gli_scacchi_e_il_chiostro_Atti_del_convegno_nazionale_di_studi_Brescia_10_febbraio_2006_in_Civilt%C3%A0_Bresciana_a_XVI_2007_n_1_2_pp_129_154">M. Vaccaro, “La scacchiera del mosaico di S. Savino. Due letture della virtù”, in Gli scacchi e il chiostro. Atti del convegno nazionale di studi (Brescia, 10 febbraio 2006), in Civiltà Bresciana, a. XVI (2007), n. 1-2, pp. 129-154.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/320074" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6d226c71d5a1a2e1faad5c91c8550b8c" rel="nofollow" data-download="{"attachment_id":30338447,"asset_id":320074,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30338447/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="244218" href="https://salerno.academia.edu/MaddalenaVaccaro">Maddalena Vaccaro</a><script data-card-contents-for-user="244218" type="text/json">{"id":244218,"first_name":"Maddalena","last_name":"Vaccaro","domain_name":"salerno","page_name":"MaddalenaVaccaro","display_name":"Maddalena Vaccaro","profile_url":"https://salerno.academia.edu/MaddalenaVaccaro?f_ri=869","photo":"https://0.academia-photos.com/244218/914995/9062058/s65_maddalena.vaccaro.jpg"}</script></span></span></li><li class="js-paper-rank-work_320074 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="320074"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 320074, container: ".js-paper-rank-work_320074", }); 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$(".js-view-count[data-work-id=320074]").text(description); $(".js-view-count-work_320074").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_320074").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="320074"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="863" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3225" rel="nofollow" href="https://www.academia.edu/Documents/in/Visual_Culture">Visual Culture</a>, <script data-card-contents-for-ri="3225" type="text/json">{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3468" rel="nofollow" href="https://www.academia.edu/Documents/in/Virtue_Ethics">Virtue Ethics</a><script data-card-contents-for-ri="3468" type="text/json">{"id":3468,"name":"Virtue Ethics","url":"https://www.academia.edu/Documents/in/Virtue_Ethics?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=320074]'), work: {"id":320074,"title":"M. 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As hybrid creatures, the iconography of these demons combines an array of anthropomorphic and zoomorphic properties, and is therefore marked by a high... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36812341" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper examines the demons Pazuzu and Lamaštu from a cognitive science perspective. As hybrid creatures, the iconography of these demons combines an array of anthropomorphic and zoomorphic properties, and is therefore marked by a high degree of conceptual complexity. In a technical sense, they are what cognitive researchers refer to as radically "counterintuitive " representations. However, highly complex religious concepts are difficult in terms of cognitive processing, memory, and transmission , and, as a result, are prone to being spontaneously simplified in structure. Accordingly, there is reason to expect that the material images of Pazuzu and Lamaštu differed from the corresponding mental images of these demons. Specifically, it is argued here that in ancient cognition and memory, the demons would have been represented in a more cognitively optimal manner. This hypothesis is further supported by a detailed consideration of the full repertoire of iconographic and textual sources.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36812341" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dfa13cbb9030432c322d1a3cb003a8dd" rel="nofollow" data-download="{"attachment_id":56762765,"asset_id":36812341,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56762765/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1223244" href="https://emory.academia.edu/BrettMaiden">Brett Maiden</a><script data-card-contents-for-user="1223244" type="text/json">{"id":1223244,"first_name":"Brett","last_name":"Maiden","domain_name":"emory","page_name":"BrettMaiden","display_name":"Brett Maiden","profile_url":"https://emory.academia.edu/BrettMaiden?f_ri=869","photo":"https://0.academia-photos.com/1223244/442486/11165192/s65_brett.maiden.jpg"}</script></span></span></li><li class="js-paper-rank-work_36812341 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36812341"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36812341, container: ".js-paper-rank-work_36812341", }); 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As hybrid creatures, the iconography of these demons combines an array of anthropomorphic and zoomorphic properties, and is therefore marked by a high degree of conceptual complexity. In a technical sense, they are what cognitive researchers refer to as radically \"counterintuitive \" representations. However, highly complex religious concepts are difficult in terms of cognitive processing, memory, and transmission , and, as a result, are prone to being spontaneously simplified in structure. Accordingly, there is reason to expect that the material images of Pazuzu and Lamaštu differed from the corresponding mental images of these demons. Specifically, it is argued here that in ancient cognition and memory, the demons would have been represented in a more cognitively optimal manner. This hypothesis is further supported by a detailed consideration of the full repertoire of iconographic and textual sources.","downloadable_attachments":[{"id":56762765,"asset_id":36812341,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1223244,"first_name":"Brett","last_name":"Maiden","domain_name":"emory","page_name":"BrettMaiden","display_name":"Brett Maiden","profile_url":"https://emory.academia.edu/BrettMaiden?f_ri=869","photo":"https://0.academia-photos.com/1223244/442486/11165192/s65_brett.maiden.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":14577,"name":"Cognitive Science of Religion","url":"https://www.academia.edu/Documents/in/Cognitive_Science_of_Religion?f_ri=869","nofollow":true},{"id":17936,"name":"Ancient Near East","url":"https://www.academia.edu/Documents/in/Ancient_Near_East?f_ri=869","nofollow":true},{"id":26449,"name":"Ancient 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Kaya","profile_url":"https://bozok.academia.edu/%C4%B0lkg%C3%BClKaya?f_ri=869","photo":"https://0.academia-photos.com/1112886/388112/155220454/s65_i_lkg_l.kaya.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":991,"name":"Late Antique and Byzantine Studies","url":"https://www.academia.edu/Documents/in/Late_Antique_and_Byzantine_Studies?f_ri=869","nofollow":true},{"id":7129,"name":"Symeon the Stylite","url":"https://www.academia.edu/Documents/in/Symeon_the_Stylite?f_ri=869","nofollow":true},{"id":10091,"name":"Byzantine Studies","url":"https://www.academia.edu/Documents/in/Byzantine_Studies?f_ri=869","nofollow":true},{"id":13890,"name":"Byzantine History","url":"https://www.academia.edu/Documents/in/Byzantine_History?f_ri=869"},{"id":14639,"name":"Byzantine Iconography","url":"https://www.academia.edu/Documents/in/Byzantine_Iconography?f_ri=869"},{"id":21629,"name":"Byzantine monasticism","url":"https://www.academia.edu/Documents/in/Byzantine_monasticism?f_ri=869"},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869"},{"id":38464,"name":"Byzantine historiography","url":"https://www.academia.edu/Documents/in/Byzantine_historiography?f_ri=869"},{"id":44493,"name":"Byzantine Hagiography","url":"https://www.academia.edu/Documents/in/Byzantine_Hagiography?f_ri=869"},{"id":66724,"name":"Early Church Fathers","url":"https://www.academia.edu/Documents/in/Early_Church_Fathers?f_ri=869"},{"id":107880,"name":"Archaeology of pilgrimage","url":"https://www.academia.edu/Documents/in/Archaeology_of_pilgrimage?f_ri=869"},{"id":125431,"name":"Byzantine art","url":"https://www.academia.edu/Documents/in/Byzantine_art?f_ri=869"},{"id":267727,"name":"Christian Studies","url":"https://www.academia.edu/Documents/in/Christian_Studies?f_ri=869"},{"id":512881,"name":"Tokens","url":"https://www.academia.edu/Documents/in/Tokens?f_ri=869"},{"id":712259,"name":"Stylite Saints","url":"https://www.academia.edu/Documents/in/Stylite_Saints?f_ri=869"},{"id":1744104,"name":"Saint Lazarus","url":"https://www.academia.edu/Documents/in/Saint_Lazarus?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_220403" data-work_id="220403" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/220403/Protopresbyter_Sergii_Bulgakov_Hypostasis_and_Hypostaticity_Scholia_to_the_Unfading_Light_St_Vladimir_s_Theological_Quarterly_49_1_2_2005_5_46">'Protopresbyter Sergii Bulgakov: Hypostasis and Hypostaticity: Scholia to the Unfading Light’, St Vladimir’s Theological Quarterly, 49:1-2 (2005), 5-46 </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This text, done with Irina Kukota, is a translation of Sergii Bulgakov's seminal catechesis of sophiology, 'Ipostas' i Ipostasnost'' (1924) with introduction, notes and an appendix of an unpublished work, 'A Summary of Sophiology' (1936).</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/220403" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="68076da5573ca0af116610aa4e790c2b" 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type="text/json">{"id":17824,"name":"Systematics","url":"https://www.academia.edu/Documents/in/Systematics?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="22327" rel="nofollow" href="https://www.academia.edu/Documents/in/Heresy">Heresy</a>, <script data-card-contents-for-ri="22327" type="text/json">{"id":22327,"name":"Heresy","url":"https://www.academia.edu/Documents/in/Heresy?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="30347" rel="nofollow" href="https://www.academia.edu/Documents/in/Translation">Translation</a><script data-card-contents-for-ri="30347" type="text/json">{"id":30347,"name":"Translation","url":"https://www.academia.edu/Documents/in/Translation?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=220403]'), work: {"id":220403,"title":"'Protopresbyter Sergii Bulgakov: Hypostasis and Hypostaticity: Scholia to the Unfading Light’, St Vladimir’s Theological Quarterly, 49:1-2 (2005), 5-46 ","created_at":"2010-03-10T11:52:00.173-08:00","url":"https://www.academia.edu/220403/Protopresbyter_Sergii_Bulgakov_Hypostasis_and_Hypostaticity_Scholia_to_the_Unfading_Light_St_Vladimir_s_Theological_Quarterly_49_1_2_2005_5_46?f_ri=869","dom_id":"work_220403","summary":"This text, done with Irina Kukota, is a translation of Sergii Bulgakov's seminal catechesis of sophiology, 'Ipostas' i Ipostasnost'' (1924) with introduction, notes and an appendix of an unpublished work, 'A Summary of Sophiology' (1936).","downloadable_attachments":[{"id":768619,"asset_id":220403,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":100800,"first_name":"Brandon","last_name":"Gallaher","domain_name":"exeter","page_name":"BrandonGallaher","display_name":"Brandon Gallaher","profile_url":"https://exeter.academia.edu/BrandonGallaher?f_ri=869","photo":"https://0.academia-photos.com/100800/85223/93129/s65_brandon.gallaher.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":17824,"name":"Systematics","url":"https://www.academia.edu/Documents/in/Systematics?f_ri=869","nofollow":true},{"id":22327,"name":"Heresy","url":"https://www.academia.edu/Documents/in/Heresy?f_ri=869","nofollow":true},{"id":30347,"name":"Translation","url":"https://www.academia.edu/Documents/in/Translation?f_ri=869","nofollow":true},{"id":131802,"name":"Divine Love","url":"https://www.academia.edu/Documents/in/Divine_Love?f_ri=869"},{"id":183705,"name":"Sophiology","url":"https://www.academia.edu/Documents/in/Sophiology?f_ri=869"},{"id":259289,"name":"Bulgakov","url":"https://www.academia.edu/Documents/in/Bulgakov?f_ri=869"},{"id":289417,"name":"Sophia","url":"https://www.academia.edu/Documents/in/Sophia?f_ri=869"},{"id":324250,"name":"Catechesis","url":"https://www.academia.edu/Documents/in/Catechesis?f_ri=869"},{"id":966537,"name":"Created","url":"https://www.academia.edu/Documents/in/Created?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8319073" data-work_id="8319073" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8319073/Fran%C3%A7ois_B%C5%93spflug_Le_immagini_di_Dio_Una_storia_dell_Eterno_nell_arte_Einaudi_Torino_2012_tit_or_Dieu_et_ses_images_Une_histoire_de_l_%C3%89ternel_dans_l_art_Bayard_Montrouge_2008_pp_VII_581_ill">François Bœspflug, Le immagini di Dio. Una storia dell’Eterno nell’arte, Einaudi, Torino 2012 (tit. or. Dieu et ses images. Une histoire de l’Éternel dans l’art, Bayard, Montrouge 2008), pp. VII, 581, ill.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Pubblichiamo l'omelia pronunciata da mons. Gianni Bernardi durante la concelebrazione eucaristica tenutasi il 27 settembre 2013. La liturgia della Parola del giorno proponeva Aggeo 1,9 e Luca 9,[18][19][20][21][22] Prima di meditare sulla... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8319073" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Pubblichiamo l'omelia pronunciata da mons. Gianni Bernardi durante la concelebrazione eucaristica tenutasi il 27 settembre 2013. La liturgia della Parola del giorno proponeva Aggeo 1,9 e Luca 9,[18][19][20][21][22] Prima di meditare sulla parola di Dio che oggi è stata proclamata e che illumina la nostra vita, permettetemi due rapide premesse. 1. Durante gli anni nei quali sono stato presidente del Centro Pattaro, non ho mai voluto presiedere la celebrazione annuale in suffragio di don Germano, neppure quando sono diventato parroco di questa parrocchia, nella cui chiesa parrocchiale, per tradizione, la celebrazione si svolge: questo perché mi pareva giusto lasciare la parola a qualche altro confratello, che con don Germano poteva aver avuto, a qualsiasi titolo, un qualche rapporto. Anche quando qualche membro del Consiglio Direttivo del Centro mi chiedeva di presiedere, rispondevo dicendo che lo avrei fatto qualora non fossi più stato presidente. Senza pensarlo, sono stato profeta: infatti il momento è venuto; a fine luglio il Patriarca mi ha chiesto di diventare suo delegato per la vita consacrata e questo ha implicato che lasciassi l'Ufficio cultura, di cui ero direttore, e di conseguenza la presidenza del Centro. Celebro quindi con gratitudine questa santa Messa, e lo faccio proprio perché la presidenza del Centro è ora affidata a un altro, a don Gilberto Sabbadin, che conoscerete presto e che spero accoglierete con tanta disponibilità. 2. Ci ritroviamo oggi per ricordare don Germano e per pregare per lui a ventisette anni dalla sua morte: ci ritroviamo ogni anno, sempre ringraziando il Signore per quanto ha dato alla Chiesa di Venezia e a ciascuno di noi nella persona e nel ministero di don Germano. Ma permettetemi di osservare che sarebbe opportuno ricordare insieme tante altre figure di sacerdoti veneziani che, come don Germano, hanno dato tanto a tutti noi: a cominciare da don Bruno Bertoli, che ha saputo accogliere l'eredità di don Germano alla Chiesa di Venezia, dando anche vita al Centro, per il quale ha affrontato difficoltà di ogni genere, accettando anche sofferenze di non poco conto. E poi mons. Mario D'Este, mons. Silvio Tramontin, mons. Giuliano Bertoli, mons. Antonio Niero, mons. Silvio Zardon...: nomi che ci richiamano volti amati, insieme a tanti altri; nomi che ci fanno ricordare persone che con grande fedeltà al Signore hanno svolto il loro ministero sacerdotale a servizio del popolo di Dio. Nomi, volti e persone che non devono essere dimenticati.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8319073" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bb6fbbc6c9ef7c24ae5bce2faca4d3d0" rel="nofollow" data-download="{"attachment_id":34726473,"asset_id":8319073,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34726473/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16604257" href="https://marcianum.academia.edu/EBrunet">Ester Brunet</a><script data-card-contents-for-user="16604257" type="text/json">{"id":16604257,"first_name":"Ester","last_name":"Brunet","domain_name":"marcianum","page_name":"EBrunet","display_name":"Ester Brunet","profile_url":"https://marcianum.academia.edu/EBrunet?f_ri=869","photo":"https://0.academia-photos.com/16604257/4526570/5252713/s65_ester.brunet.jpg"}</script></span></span></li><li class="js-paper-rank-work_8319073 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8319073"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8319073, container: ".js-paper-rank-work_8319073", }); 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Una storia dell’Eterno nell’arte, Einaudi, Torino 2012 (tit. or. Dieu et ses images. Une histoire de l’Éternel dans l’art, Bayard, Montrouge 2008), pp. VII, 581, ill.","created_at":"2014-09-14T02:53:37.629-07:00","url":"https://www.academia.edu/8319073/Fran%C3%A7ois_B%C5%93spflug_Le_immagini_di_Dio_Una_storia_dell_Eterno_nell_arte_Einaudi_Torino_2012_tit_or_Dieu_et_ses_images_Une_histoire_de_l_%C3%89ternel_dans_l_art_Bayard_Montrouge_2008_pp_VII_581_ill?f_ri=869","dom_id":"work_8319073","summary":"Pubblichiamo l'omelia pronunciata da mons. Gianni Bernardi durante la concelebrazione eucaristica tenutasi il 27 settembre 2013. La liturgia della Parola del giorno proponeva Aggeo 1,9 e Luca 9,[18][19][20][21][22] Prima di meditare sulla parola di Dio che oggi è stata proclamata e che illumina la nostra vita, permettetemi due rapide premesse. 1. Durante gli anni nei quali sono stato presidente del Centro Pattaro, non ho mai voluto presiedere la celebrazione annuale in suffragio di don Germano, neppure quando sono diventato parroco di questa parrocchia, nella cui chiesa parrocchiale, per tradizione, la celebrazione si svolge: questo perché mi pareva giusto lasciare la parola a qualche altro confratello, che con don Germano poteva aver avuto, a qualsiasi titolo, un qualche rapporto. Anche quando qualche membro del Consiglio Direttivo del Centro mi chiedeva di presiedere, rispondevo dicendo che lo avrei fatto qualora non fossi più stato presidente. Senza pensarlo, sono stato profeta: infatti il momento è venuto; a fine luglio il Patriarca mi ha chiesto di diventare suo delegato per la vita consacrata e questo ha implicato che lasciassi l'Ufficio cultura, di cui ero direttore, e di conseguenza la presidenza del Centro. Celebro quindi con gratitudine questa santa Messa, e lo faccio proprio perché la presidenza del Centro è ora affidata a un altro, a don Gilberto Sabbadin, che conoscerete presto e che spero accoglierete con tanta disponibilità. 2. Ci ritroviamo oggi per ricordare don Germano e per pregare per lui a ventisette anni dalla sua morte: ci ritroviamo ogni anno, sempre ringraziando il Signore per quanto ha dato alla Chiesa di Venezia e a ciascuno di noi nella persona e nel ministero di don Germano. Ma permettetemi di osservare che sarebbe opportuno ricordare insieme tante altre figure di sacerdoti veneziani che, come don Germano, hanno dato tanto a tutti noi: a cominciare da don Bruno Bertoli, che ha saputo accogliere l'eredità di don Germano alla Chiesa di Venezia, dando anche vita al Centro, per il quale ha affrontato difficoltà di ogni genere, accettando anche sofferenze di non poco conto. E poi mons. Mario D'Este, mons. Silvio Tramontin, mons. Giuliano Bertoli, mons. Antonio Niero, mons. Silvio Zardon...: nomi che ci richiamano volti amati, insieme a tanti altri; nomi che ci fanno ricordare persone che con grande fedeltà al Signore hanno svolto il loro ministero sacerdotale a servizio del popolo di Dio. Nomi, volti e persone che non devono essere dimenticati.","downloadable_attachments":[{"id":34726473,"asset_id":8319073,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16604257,"first_name":"Ester","last_name":"Brunet","domain_name":"marcianum","page_name":"EBrunet","display_name":"Ester Brunet","profile_url":"https://marcianum.academia.edu/EBrunet?f_ri=869","photo":"https://0.academia-photos.com/16604257/4526570/5252713/s65_ester.brunet.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=869","nofollow":true},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869","nofollow":true},{"id":968659,"name":"Theory and Philosophy of Image","url":"https://www.academia.edu/Documents/in/Theory_and_Philosophy_of_Image?f_ri=869","nofollow":true},{"id":1003311,"name":"Theology of Images","url":"https://www.academia.edu/Documents/in/Theology_of_Images?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3384236" data-work_id="3384236" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3384236/Iconografia_francescana_nella_chiesa_di_Santa_Maria_delle_Grazie_a_Pietrasecca_di_Carsoli_Dipinti_di_seguaci_dei_Carracci_Giuseppe_Guadagnoli_seguace_di_Francesco_Solimena_e_Paolo_de_Matteis_bottega_di_Francesco_Trevisani_Seguace_dei_Sarnelli_e_di_Caspar_David_Friedrich">Iconografia francescana nella chiesa di Santa Maria delle Grazie a Pietrasecca di Carsoli. Dipinti di: seguaci dei Carracci, Giuseppe Guadagnoli, seguace di Francesco Solimena e Paolo de Matteis, bottega di Francesco Trevisani, Seguace dei Sarnelli e di Caspar David Friedrich</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3384236" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="891f97373fbda23b045d1bd6da17b419" rel="nofollow" data-download="{"attachment_id":31450774,"asset_id":3384236,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31450774/download_file?st=MTc0MDA0OTYwOCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3935780" href="https://uniroma1.academia.edu/MichelaRamadori">Michela Ramadori</a><script data-card-contents-for-user="3935780" type="text/json">{"id":3935780,"first_name":"Michela","last_name":"Ramadori","domain_name":"uniroma1","page_name":"MichelaRamadori","display_name":"Michela Ramadori","profile_url":"https://uniroma1.academia.edu/MichelaRamadori?f_ri=869","photo":"https://0.academia-photos.com/3935780/1475734/12923835/s65_michela.ramadori.jpg"}</script></span></span></li><li class="js-paper-rank-work_3384236 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3384236"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3384236, container: ".js-paper-rank-work_3384236", }); 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The result was an Egyptian-Levantine koine,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30572674" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">An increase of cross-cultural learning as a consequence of increased travel and migration between Egypt and the Levant during the Iron Age occurred after millennia of migration in earlier times. The result was an Egyptian-Levantine koine, often not recognized as relevant by historians due to an uncritical reproduction of ancient myths of separation. 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href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5135" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconoclasm">Iconoclasm</a>, <script data-card-contents-for-ri="5135" type="text/json">{"id":5135,"name":"Iconoclasm","url":"https://www.academia.edu/Documents/in/Iconoclasm?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="8916" rel="nofollow" href="https://www.academia.edu/Documents/in/Islamic_Art">Islamic Art</a><script data-card-contents-for-ri="8916" type="text/json">{"id":8916,"name":"Islamic Art","url":"https://www.academia.edu/Documents/in/Islamic_Art?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: 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href="https://www.academia.edu/692194/Trappings_of_sacred_war_the_warrior_costume_of_Teotihuacan">Trappings of sacred war: the warrior costume of Teotihuacan</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">While only one author appears on the cover of this work, it was the cumulative support of many people that made this thesis possible. I will start by thanking my committee, Dr. Franyoise Forster-Hahn and Dr. Stephen Ostrow for their... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_692194" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">While only one author appears on the cover of this work, it was the cumulative support of many people that made this thesis possible. I will start by thanking my committee, Dr. Franyoise Forster-Hahn and Dr. Stephen Ostrow for their thorough reading of my thesis and their helpful comments which strengthened my work immensely. Dr. Karl Taube, my committee chair, deserves a special thank you for, not only suggesting this wonderful topic for a thesis, but also for his immense support of my work. Many of the ideas in this thesis were inspired and influenced by his published works, conversations, and suggestions for the improvement of my ideas. Dr. Taube also provided me with unpublished manuscripts of his work, a constructive critique of my work, and wonderful advice about my future as a scholar of Mesoamerica, for all of this I am indebted to him. Thank you, Karl.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/692194" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="795b4ff235f6b0d00ab7b468f79f669f" rel="nofollow" data-download="{"attachment_id":3931104,"asset_id":692194,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/3931104/download_file?st=MTc0MDA0OTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="508903" href="https://cpp.academia.edu/ClaudiaGarciaDesLauriers">Claudia Garcia-Des Lauriers</a><script data-card-contents-for-user="508903" type="text/json">{"id":508903,"first_name":"Claudia","last_name":"Garcia-Des Lauriers","domain_name":"cpp","page_name":"ClaudiaGarciaDesLauriers","display_name":"Claudia Garcia-Des Lauriers","profile_url":"https://cpp.academia.edu/ClaudiaGarciaDesLauriers?f_ri=869","photo":"https://0.academia-photos.com/508903/176760/17278107/s65_claudia.garcia-des_lauriers.jpg"}</script></span></span></li><li class="js-paper-rank-work_692194 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="692194"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 692194, container: ".js-paper-rank-work_692194", }); 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I will start by thanking my committee, Dr. Franyoise Forster-Hahn and Dr. Stephen Ostrow for their thorough reading of my thesis and their helpful comments which strengthened my work immensely. Dr. Karl Taube, my committee chair, deserves a special thank you for, not only suggesting this wonderful topic for a thesis, but also for his immense support of my work. Many of the ideas in this thesis were inspired and influenced by his published works, conversations, and suggestions for the improvement of my ideas. Dr. Taube also provided me with unpublished manuscripts of his work, a constructive critique of my work, and wonderful advice about my future as a scholar of Mesoamerica, for all of this I am indebted to him. Thank you, Karl.","downloadable_attachments":[{"id":3931104,"asset_id":692194,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":508903,"first_name":"Claudia","last_name":"Garcia-Des Lauriers","domain_name":"cpp","page_name":"ClaudiaGarciaDesLauriers","display_name":"Claudia Garcia-Des Lauriers","profile_url":"https://cpp.academia.edu/ClaudiaGarciaDesLauriers?f_ri=869","photo":"https://0.academia-photos.com/508903/176760/17278107/s65_claudia.garcia-des_lauriers.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":17759,"name":"Teotihuacan","url":"https://www.academia.edu/Documents/in/Teotihuacan?f_ri=869","nofollow":true},{"id":42194,"name":"Warfare","url":"https://www.academia.edu/Documents/in/Warfare?f_ri=869","nofollow":true},{"id":570153,"name":"Costume","url":"https://www.academia.edu/Documents/in/Costume?f_ri=869","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5151812" data-work_id="5151812" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5151812/Pisano_G_2013_Iconografie_da_Oriente_a_Occidente_Latelier_del_nero_Del_Francia_Barocas_L_Cappozzo_M_edd_Egitto_e_mondo_antico_Studi_per_Claudio_Barocas_Rivista_degli_Studi_Orientali_n_s_85_2012_Pisa_Roma_421_433">Pisano G. 2013, Iconografie da Oriente a Occidente. L'atelier del nero: Del Francia Barocas L. - Cappozzo M. (edd.), Egitto e mondo antico. Studi per Claudio Barocas (= Rivista degli Studi Orientali, n.s., 85 [2012]), Pisa - Roma, 421-433.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5151812" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="16ccf6ec99cd3c3cb27e0c766e074404" rel="nofollow" data-download="{"attachment_id":32350201,"asset_id":5151812,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32350201/download_file?st=MTc0MDA0OTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1632337" href="https://independent.academia.edu/GiovannaPisano">Giovanna Pisano</a><script data-card-contents-for-user="1632337" type="text/json">{"id":1632337,"first_name":"Giovanna","last_name":"Pisano","domain_name":"independent","page_name":"GiovannaPisano","display_name":"Giovanna Pisano","profile_url":"https://independent.academia.edu/GiovannaPisano?f_ri=869","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_5151812 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5151812"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5151812, container: ".js-paper-rank-work_5151812", }); 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Smith voluMe 1</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37768892" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1b840f1c5db4a496c415bd7bfcfce8c5" rel="nofollow" data-download="{"attachment_id":58253218,"asset_id":37768892,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58253218/download_file?st=MTc0MDA0OTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36875696" href="https://uni-m.academia.edu/AchimLichtenberger">Achim Lichtenberger</a><script data-card-contents-for-user="36875696" type="text/json">{"id":36875696,"first_name":"Achim","last_name":"Lichtenberger","domain_name":"uni-m","page_name":"AchimLichtenberger","display_name":"Achim Lichtenberger","profile_url":"https://uni-m.academia.edu/AchimLichtenberger?f_ri=869","photo":"https://0.academia-photos.com/36875696/16690067/126608079/s65_achim.lichtenberger.jpg"}</script></span></span></li><li class="js-paper-rank-work_37768892 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37768892"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37768892, container: ".js-paper-rank-work_37768892", }); 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Contributors include: Ewen Bowie (Oxford), Chris Carey (London), Patrick Finglass (Nottingham),... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3388832" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book is the edited proceedings from the conference 'The Art of Stesichorus' held at St John's College, Oxford, on June 29–30 2012. 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Икони с изображения на св. Кирил и св. Методий от Странджа (втората половина на XIX – началото на ХХ в.). – Старобългарска литература, 59-60, 2019, 70-91</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">ICONS DEPICTING ST CYRIL AND ST METHODIUS FROM THE STRANDZHA MOUNTAINS (SECOND HALF OF THE 19TH – EARLY 20TH CENTURY). During the time of the Bulgarians’struggle for ecclesiastical emancipation from the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41305787" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">ICONS  DEPICTING  ST  CYRIL  AND  ST  METHODIUS  FROM  THE  STRANDZHA MOUNTAINS (SECOND HALF OF THE 19TH – EARLY 20TH CENTURY).<br /><br />During the time of the Bulgarians’struggle  for ecclesiastical  emancipation  from the Constantinople patriarchy  in  the  1850s – 1870s, the cult of theSlavic enlighteners St Cyril and St Methodius spread widely across the northern slopes of the Strandzha Mountains,whose population was predominantly Bulgarian.  This could explain why even  prior to the 1877–1878 Russo-Turkish War, icons of the two saints began to appear in the vicinity of the towns of Sredets and Malko Tarnovo.These were painted by Socrates Georgiou, a Greek icon painter from Sozopol who skillfully exploited the patrioticsentiments of the local Bulgarian church communities. A similar approach was adopted by the less gifted Greek iconpainter Stavros from Lozengrad, who was particularly active in the area around Malko Tarnovo, which remainedunder Turkish control between 1878 and 1912. During the early decades after the 1878, on the northern side of theBulgarian –  Turkish  border,  in  the  region of  Sredets and  the adjacent  villages belonging  to  the  municipalities ofSozopol and Primorsko, there were several icon painters from Tryavna (Dimitar Minev, his son Hristo Dimitrov,and others) who were working tirelessly in the local churches, painting icons of the Slavic enlighteners in the besttraditions of the Tryavna Art School. In some of the Strandzha churches a clear manifestation of the veneration of StCyril and St Methodius was the placement of their icon on the  bishop’s throne, an curious novel practice, alsoevident in a number  of  other places  across  Bulgaria, the reason for  which  was the conviction  shared by thecontemporaries that the contribution of the Thessaloniki brothers provided a solid spiritual and cultural basis for theautocephaly of the Bulgarian Church, which was restored on May 11th, 1872.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41305787" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="730f24ad15a2183418ae7dbf0c0c67a0" rel="nofollow" data-download="{"attachment_id":61517737,"asset_id":41305787,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61517737/download_file?st=MTc0MDA0OTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="448345" href="https://uni-sofia.academia.edu/AngelNikolov">Angel Nikolov</a><script data-card-contents-for-user="448345" type="text/json">{"id":448345,"first_name":"Angel","last_name":"Nikolov","domain_name":"uni-sofia","page_name":"AngelNikolov","display_name":"Angel Nikolov","profile_url":"https://uni-sofia.academia.edu/AngelNikolov?f_ri=869","photo":"https://0.academia-photos.com/448345/145499/339839/s65_angel.nikolov.jpg"}</script></span></span></li><li class="js-paper-rank-work_41305787 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41305787"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41305787, container: ".js-paper-rank-work_41305787", }); 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Методий от Странджа (втората половина на XIX – началото на ХХ в.). – Старобългарска литература, 59-60, 2019, 70-91","created_at":"2019-12-15T00:54:31.780-08:00","url":"https://www.academia.edu/41305787/%D0%9D%D0%B8%D0%BA%D0%BE%D0%BB%D0%BE%D0%B2_%D0%90_%D0%98%D0%BA%D0%BE%D0%BD%D0%B8_%D1%81_%D0%B8%D0%B7%D0%BE%D0%B1%D1%80%D0%B0%D0%B6%D0%B5%D0%BD%D0%B8%D1%8F_%D0%BD%D0%B0_%D1%81%D0%B2_%D0%9A%D0%B8%D1%80%D0%B8%D0%BB_%D0%B8_%D1%81%D0%B2_%D0%9C%D0%B5%D1%82%D0%BE%D0%B4%D0%B8%D0%B9_%D0%BE%D1%82_%D0%A1%D1%82%D1%80%D0%B0%D0%BD%D0%B4%D0%B6%D0%B0_%D0%B2%D1%82%D0%BE%D1%80%D0%B0%D1%82%D0%B0_%D0%BF%D0%BE%D0%BB%D0%BE%D0%B2%D0%B8%D0%BD%D0%B0_%D0%BD%D0%B0_XIX_%D0%BD%D0%B0%D1%87%D0%B0%D0%BB%D0%BE%D1%82%D0%BE_%D0%BD%D0%B0_%D0%A5%D0%A5_%D0%B2_%D0%A1%D1%82%D0%B0%D1%80%D0%BE%D0%B1%D1%8A%D0%BB%D0%B3%D0%B0%D1%80%D1%81%D0%BA%D0%B0_%D0%BB%D0%B8%D1%82%D0%B5%D1%80%D0%B0%D1%82%D1%83%D1%80%D0%B0_59_60_2019_70_91?f_ri=869","dom_id":"work_41305787","summary":"ICONS DEPICTING ST CYRIL AND ST METHODIUS FROM THE STRANDZHA MOUNTAINS (SECOND HALF OF THE 19TH – EARLY 20TH CENTURY).\n\nDuring the time of the Bulgarians’struggle for ecclesiastical emancipation from the Constantinople patriarchy in the 1850s – 1870s, the cult of theSlavic enlighteners St Cyril and St Methodius spread widely across the northern slopes of the Strandzha Mountains,whose population was predominantly Bulgarian. This could explain why even prior to the 1877–1878 Russo-Turkish War, icons of the two saints began to appear in the vicinity of the towns of Sredets and Malko Tarnovo.These were painted by Socrates Georgiou, a Greek icon painter from Sozopol who skillfully exploited the patrioticsentiments of the local Bulgarian church communities. A similar approach was adopted by the less gifted Greek iconpainter Stavros from Lozengrad, who was particularly active in the area around Malko Tarnovo, which remainedunder Turkish control between 1878 and 1912. During the early decades after the 1878, on the northern side of theBulgarian – Turkish border, in the region of Sredets and the adjacent villages belonging to the municipalities ofSozopol and Primorsko, there were several icon painters from Tryavna (Dimitar Minev, his son Hristo Dimitrov,and others) who were working tirelessly in the local churches, painting icons of the Slavic enlighteners in the besttraditions of the Tryavna Art School. In some of the Strandzha churches a clear manifestation of the veneration of StCyril and St Methodius was the placement of their icon on the bishop’s throne, an curious novel practice, alsoevident in a number of other places across Bulgaria, the reason for which was the conviction shared by thecontemporaries that the contribution of the Thessaloniki brothers provided a solid spiritual and cultural basis for theautocephaly of the Bulgarian Church, which was restored on May 11th, 1872.","downloadable_attachments":[{"id":61517737,"asset_id":41305787,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":448345,"first_name":"Angel","last_name":"Nikolov","domain_name":"uni-sofia","page_name":"AngelNikolov","display_name":"Angel Nikolov","profile_url":"https://uni-sofia.academia.edu/AngelNikolov?f_ri=869","photo":"https://0.academia-photos.com/448345/145499/339839/s65_angel.nikolov.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":14639,"name":"Byzantine Iconography","url":"https://www.academia.edu/Documents/in/Byzantine_Iconography?f_ri=869","nofollow":true},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869","nofollow":true},{"id":32766,"name":"Bulgarian history","url":"https://www.academia.edu/Documents/in/Bulgarian_history?f_ri=869","nofollow":true},{"id":58937,"name":"Slavic Studies","url":"https://www.academia.edu/Documents/in/Slavic_Studies?f_ri=869"},{"id":98382,"name":"Icons","url":"https://www.academia.edu/Documents/in/Icons?f_ri=869"},{"id":128060,"name":"Medieval Bulgaria","url":"https://www.academia.edu/Documents/in/Medieval_Bulgaria?f_ri=869"},{"id":129252,"name":"Bulgarian Language","url":"https://www.academia.edu/Documents/in/Bulgarian_Language?f_ri=869"},{"id":282259,"name":"Slavic Languages and Literatures","url":"https://www.academia.edu/Documents/in/Slavic_Languages_and_Literatures?f_ri=869"},{"id":552067,"name":"Cyrillo-Methodian studies","url":"https://www.academia.edu/Documents/in/Cyrillo-Methodian_studies?f_ri=869"},{"id":948332,"name":"Bulgarian National Revival","url":"https://www.academia.edu/Documents/in/Bulgarian_National_Revival?f_ri=869"},{"id":992356,"name":"Ss Cyril and Methodius","url":"https://www.academia.edu/Documents/in/Ss_Cyril_and_Methodius?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9844221" data-work_id="9844221" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9844221/The_Iconophile_Position_in_Russian_Art_from_Rublev_to_Tarkovsky">The Iconophile Position in Russian Art from Rublev to Tarkovsky</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">film, which becomes the capstone to a self-referential Tarkovskian oeuvre, Marker combines Tarkovsky's films with footage of the great director on his death bed. The finished product is a sort of Tarkovskian death mask or, as I would... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9844221" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">film, which becomes the capstone to a self-referential Tarkovskian oeuvre, Marker combines Tarkovsky's films with footage of the great director on his death bed. The finished product is a sort of Tarkovskian death mask or, as I would prefer to call it, a relic and a vita of Russia's greatest iconophile. As Marker might have put it, the final analysis of Tarkovsky as an artist shows that Rublev was very much present in Tarkovksy, and vice versa.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9844221" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6b57078860726b7a0406ba0bbb7bfe02" rel="nofollow" data-download="{"attachment_id":36009656,"asset_id":9844221,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36009656/download_file?st=MTc0MDA0OTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10082915" href="https://harvard.academia.edu/GlebSidorkin">Gleb Sidorkin</a><script data-card-contents-for-user="10082915" type="text/json">{"id":10082915,"first_name":"Gleb","last_name":"Sidorkin","domain_name":"harvard","page_name":"GlebSidorkin","display_name":"Gleb Sidorkin","profile_url":"https://harvard.academia.edu/GlebSidorkin?f_ri=869","photo":"https://0.academia-photos.com/10082915/3650076/27855078/s65_gleb.sidorkin.jpg"}</script></span></span></li><li class="js-paper-rank-work_9844221 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9844221"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9844221, container: ".js-paper-rank-work_9844221", }); 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$(".js-view-count[data-work-id=9844221]").text(description); $(".js-view-count-work_9844221").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9844221").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9844221"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" rel="nofollow" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6044" rel="nofollow" href="https://www.academia.edu/Documents/in/Orthodox_Theology">Orthodox Theology</a>, <script data-card-contents-for-ri="6044" type="text/json">{"id":6044,"name":"Orthodox Theology","url":"https://www.academia.edu/Documents/in/Orthodox_Theology?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14546" rel="nofollow" href="https://www.academia.edu/Documents/in/Modernism_Art_History_">Modernism (Art History)</a><script data-card-contents-for-ri="14546" type="text/json">{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9844221]'), work: {"id":9844221,"title":"The Iconophile Position in Russian Art from Rublev to Tarkovsky","created_at":"2014-12-19T21:54:01.351-08:00","url":"https://www.academia.edu/9844221/The_Iconophile_Position_in_Russian_Art_from_Rublev_to_Tarkovsky?f_ri=869","dom_id":"work_9844221","summary":"film, which becomes the capstone to a self-referential Tarkovskian oeuvre, Marker combines Tarkovsky's films with footage of the great director on his death bed. The finished product is a sort of Tarkovskian death mask or, as I would prefer to call it, a relic and a vita of Russia's greatest iconophile. As Marker might have put it, the final analysis of Tarkovsky as an artist shows that Rublev was very much present in Tarkovksy, and vice versa.","downloadable_attachments":[{"id":36009656,"asset_id":9844221,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10082915,"first_name":"Gleb","last_name":"Sidorkin","domain_name":"harvard","page_name":"GlebSidorkin","display_name":"Gleb Sidorkin","profile_url":"https://harvard.academia.edu/GlebSidorkin?f_ri=869","photo":"https://0.academia-photos.com/10082915/3650076/27855078/s65_gleb.sidorkin.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=869","nofollow":true},{"id":6044,"name":"Orthodox Theology","url":"https://www.academia.edu/Documents/in/Orthodox_Theology?f_ri=869","nofollow":true},{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=869","nofollow":true},{"id":23903,"name":"Russian avant-garde art","url":"https://www.academia.edu/Documents/in/Russian_avant-garde_art?f_ri=869"},{"id":28083,"name":"Andrei Tarkovsky","url":"https://www.academia.edu/Documents/in/Andrei_Tarkovsky?f_ri=869"},{"id":29064,"name":"Iconoclastic Controversy and Iconophilia","url":"https://www.academia.edu/Documents/in/Iconoclastic_Controversy_and_Iconophilia?f_ri=869"},{"id":39545,"name":"Socialist Realism","url":"https://www.academia.edu/Documents/in/Socialist_Realism?f_ri=869"},{"id":48315,"name":"Wassily Kandinsky","url":"https://www.academia.edu/Documents/in/Wassily_Kandinsky?f_ri=869"},{"id":73713,"name":"Sergei Eisenstein","url":"https://www.academia.edu/Documents/in/Sergei_Eisenstein?f_ri=869"},{"id":119473,"name":"Kasimir Malevich","url":"https://www.academia.edu/Documents/in/Kasimir_Malevich?f_ri=869"},{"id":400393,"name":"Theories of Socialism","url":"https://www.academia.edu/Documents/in/Theories_of_Socialism?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41563783" data-work_id="41563783" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41563783/_2018_Antifonario_de_la_Catedral_de_Le%C3%B3n">(2018) Antifonario de la Catedral de León</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Liber antiphonarium Ms. 8, Archivo Capitular de León Copistas: Totmundo y Arias. Procedente del Monasterio de San Cipriano de las Riberas del Porma. s. X, aunque varios folios añadidos del s. XI. Pergamino, 306 f., 330 x 240 mm.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41563783" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Liber antiphonarium <br />Ms. 8, Archivo Capitular de León <br />Copistas: Totmundo y Arias. <br />Procedente del Monasterio de San Cipriano de las Riberas del Porma. <br />s. X, aunque varios folios añadidos del s. XI. <br />Pergamino, 306 f., 330 x 240 mm. <br /> <br />Realizado entre los siglos X y XII, el Antifonario de León es un libro litúrgico musical que contiene más de una centena de oficios del rito hispánico, con sus correspondientes cantos particulares variables en cada fiesta y solemnidad atendiendo tanto a las horas canónicas como a las partes cantadas de la misa. El manuscrito, conservado actualmente en el Archivo Capitular de la Catedral de León, se atribuye al copista Totmundo del Monasterio de San Cipriano de las Riberas del Porma, gracias a una dedicatoria al comienzo del libro. El calendario de las primeras páginas, así como la ordenación interna de los oficios son un rico ejemplo del santoral hispano-visigodo de la época. La notación que acompaña a los textos, llamada visigótoca, ha despertado gran interés entre los musicólogos medievalistas, aunque no puede leerse en la actualidad por la ausencia de referentes en la altura de los sonidos. El manuscrito es el mejor ejemplo conservado de los antifonarios de la liturgia hispánica y una de las fuentes que más información nos aporta en la actualidad para comprender esta forma ritual, que fue sustituida por el rito romano desde el siglo XII y que era fruto de la riqueza cultural hispana en la Antigüedad Tardía y Alta Edad Media.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41563783" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bcb57123a90bb6609725d76b6a26a8ea" rel="nofollow" data-download="{"attachment_id":61786554,"asset_id":41563783,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61786554/download_file?st=MTc0MDA0OTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="502390" href="https://urjc.academia.edu/%C3%81ngelPazosL%C3%B3pez">Ángel Pazos-López</a><script data-card-contents-for-user="502390" type="text/json">{"id":502390,"first_name":"Ángel","last_name":"Pazos-López","domain_name":"urjc","page_name":"ÁngelPazosLópez","display_name":"Ángel Pazos-López","profile_url":"https://urjc.academia.edu/%C3%81ngelPazosL%C3%B3pez?f_ri=869","photo":"https://0.academia-photos.com/502390/173461/11568672/s65__ngel.pazos-l_pez.jpg"}</script></span></span></li><li class="js-paper-rank-work_41563783 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41563783"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41563783, container: ".js-paper-rank-work_41563783", }); 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X, aunque varios folios añadidos del s. XI.\r\nPergamino, 306 f., 330 x 240 mm.\r\n\r\nRealizado entre los siglos X y XII, el Antifonario de León es un libro litúrgico musical que contiene más de una centena de oficios del rito hispánico, con sus correspondientes cantos particulares variables en cada fiesta y solemnidad atendiendo tanto a las horas canónicas como a las partes cantadas de la misa. El manuscrito, conservado actualmente en el Archivo Capitular de la Catedral de León, se atribuye al copista Totmundo del Monasterio de San Cipriano de las Riberas del Porma, gracias a una dedicatoria al comienzo del libro. El calendario de las primeras páginas, así como la ordenación interna de los oficios son un rico ejemplo del santoral hispano-visigodo de la época. La notación que acompaña a los textos, llamada visigótoca, ha despertado gran interés entre los musicólogos medievalistas, aunque no puede leerse en la actualidad por la ausencia de referentes en la altura de los sonidos. El manuscrito es el mejor ejemplo conservado de los antifonarios de la liturgia hispánica y una de las fuentes que más información nos aporta en la actualidad para comprender esta forma ritual, que fue sustituida por el rito romano desde el siglo XII y que era fruto de la riqueza cultural hispana en la Antigüedad Tardía y Alta Edad Media.","downloadable_attachments":[{"id":61786554,"asset_id":41563783,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":502390,"first_name":"Ángel","last_name":"Pazos-López","domain_name":"urjc","page_name":"ÁngelPazosLópez","display_name":"Ángel Pazos-López","profile_url":"https://urjc.academia.edu/%C3%81ngelPazosL%C3%B3pez?f_ri=869","photo":"https://0.academia-photos.com/502390/173461/11568672/s65__ngel.pazos-l_pez.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":1371,"name":"Liturgical 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u-mb0x js-work-card work_5752534" data-work_id="5752534" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5752534/Corpus_Vasorum_Antiquorum_Deutschland_Band_76_Dresden_Staatliche_Kunstsammlungen_Skulpturensammlung_Band_1_Rolf_Hurschmann_Munich_2003_BMCR_Review_2005">Corpus Vasorum Antiquorum, Deutschland, Band 76, Dresden, Staatliche Kunstsammlungen, Skulpturensammlung, Band 1, Rolf Hurschmann (Munich 2003): BMCR Review 2005</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5752534" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span 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class="u-tcGrayDark u-fw700" data-has-card-for-user="3706220" href="https://independent.academia.edu/MichaelTurnerFSAFLS">Michael Turner FSA FLS</a><script data-card-contents-for-user="3706220" type="text/json">{"id":3706220,"first_name":"Michael","last_name":"Turner FSA FLS","domain_name":"independent","page_name":"MichaelTurnerFSAFLS","display_name":"Michael Turner FSA FLS","profile_url":"https://independent.academia.edu/MichaelTurnerFSAFLS?f_ri=869","photo":"https://0.academia-photos.com/3706220/1322810/37908783/s65_michael.turner_fsa_fls.jpeg"}</script></span></span></li><li class="js-paper-rank-work_5752534 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5752534"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5752534, container: ".js-paper-rank-work_5752534", }); });</script></li><li 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eighteenth century","url":"https://www.academia.edu/Documents/in/Antiquarianism_in_the_eighteenth_century?f_ri=869"},{"id":346631,"name":"Athenian Vase Painting","url":"https://www.academia.edu/Documents/in/Athenian_Vase_Painting?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30515099" data-work_id="30515099" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30515099/TESORI_DI_ARTE_E_DI_FEDE_IL_PATRIMONIO_ARCHITETTONICO_E_ARTISTICO_DEL_FONDO_EDIFICI_DI_CULTO_VOL_I_ITALIA_NORD_CENTRO">TESORI DI ARTE E DI FEDE IL PATRIMONIO ARCHITETTONICO E ARTISTICO DEL FONDO EDIFICI DI CULTO - VOL. I. ITALIA NORD-CENTRO</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A MOST HAVE FOR ART HISTORIANS! Proviamo a tornare indietro nel tempo, al fatale 1866. Quell' anno si completava una fase legislativa cominciata sedici anni prima nel Regno di Sardegna con le leggi Siccardi, veniva infatti emanata la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30515099" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A MOST HAVE FOR ART HISTORIANS!<br /><br />Proviamo a tornare indietro nel tempo, al fatale 1866. Quell' anno si completava una fase legislativa cominciata sedici anni prima nel Regno di Sardegna con le leggi Siccardi, veniva infatti emanata la legge post-unitaria che soppresse le Corporazioni religiose. Nel 1867 il governo Rattazzi diede avvio alla liquidazione dell' asse ecclesiastico, la parte cattolica si affrettò a definire eversive entrambe le leggi. Da un giorno all' altro, con un semplice tratto di penna, un ordine clericale e feudale sedimentato stratificato e rimasto immutato nei secoli, collassava e si scioglieva rovinosamente.<br />Passavano alla proprietà e all' uso dello Stato gli edifici di Congregazioni, di monasteri, di conventi subito trasformati in tribunali e in scuole, in ospedali e in ospizi, in galere e in caserme. Una quantità incommensurabile di oggetti d' arte mobili affluiva in massa sul mercato facendo la fortuna di miriadi di antiquari fra i quali primeggiava il mercante internazionale Stefano Bardini. Ciò che non finiva disperso o distrutto, (ed era la parte di gran lunga più grande) alimentò per decenni sia il collezionismo privato che quello pubblico; l' uno e l' altro, nelle miserrime condizioni economiche dell' Italia di allora, a destinazione quasi esclusivamente straniera.<br />Colossali devastazioni, perdite immense ha provocato la demanializzazione del patrimonio ecclesiastico. Evento forse necessario nella fase di passaggio del nostro Paese dall' Antico Regime alla Modernità e tuttavia brutale, doloroso, destinato a lasciare nella coscienza civile degli italiani ferite rimaste a lungo aperte.<br />Nel vasto naufragio si salvarono dall' uso improprio gli edifici di culto insieme a limitate porzioni dei complessi monumentali più legate o più contigue al culto. Si salvarono perché protette dalla devozione popolare, dalla letteratura, dalla fama degli artisti che vi erano rappresentati, dal loro essere, in maniera più o meno significativa, documenti della storia e della identità nazionali.<br />I luoghi sacri conservati al culto pubblico rimasero alla proprietà e quindi alla gestione dello Stato mentre l' autorità religiosa ne assumeva la regolare officiatura. Al F.E.C. (Fondo Edifici di Culto), sono oggi affidate oltre 750 chiese, meno dell' uno per cento del totale (calcolato in circa centomila unità) degli antichi edifici destinati alla pratica religiosa cattolica; dalla Martorana di Palermo a Santa Maria della Misericordia di Taggia, affascinante pinacoteca di pittura ligure-piemontese-fiamminga; da Santa Maria Novella di Firenze a San Bernardino di Aquila, che il terremoto del 2009 ha fatto sentire a tutti noi dolorosamente vicino; dal San Domenico di Napoli, dove dormono i re angioini e aragonesi e Tommaso scrisse la sua Summa Teologia, al Santuario di Fontanellato a Parma, prodigio di eleganza barocca e rococò.<br />Chi abita da cittadino o attraversa da turista l' Italia storica è difficile che conosca lo status giuridico delle tante chiese dislocate sul territorio nazionale. Del resto che la croce dipinta da Giotto in Santa Maria Novella a Firenze, che i Caravaggio conservati nella Cappella Cerasi di Santa Maria del Popolo a Roma, appartengano allo Stato o all' ente parrocchia o all' ordinario diocesano o alla congregazione religiosa che custodisce quel luogo, apparirà al visitatore irrilevante. Altro è ciò che interessa. Interessano la buona fruibilità di quei capolavori, la loro corretta conservazione e manutenzione, la aggiornata ed efficace presentazione didattica e scientifica. E' consolante accorgerci che questi sono gli obiettivi guida della attuale dirigenza F.E.C..<br />La storia ha costruito l' Italia dissestando distruggendo e poi riassemblando come per un immane rivolgimento tellurico, i suoi strati profondi. Lo strato identitario unificante degli antichi edifici di culto distribuiti su tutto il territorio nazionale dal Piemonte alla Sicilia, è oggi affidato, per una sua piccola ma prestigiosissima porzione, al Fondo Edifici di Culto.<br />Chi come me ha servito per tanti anni nella amministrazione italiana dei beni culturali e che ora dall' osservatorio privilegiato dei Musei Vaticani è in grado di apprezzare, con attenzione e sensibilità speciali, l' iridescente mirabile mantello di chiese che copre l' Italia, non può che esprimere vivo compiacimento per tale iniziativa editoriale introdotta dalle mie righe.<br />Una rete di perfetta affidabilità affidata agli architetti e agli storici dell' arte delle Soprintendenze garantisce la qualità dei testi. L' ERMA di BRETSCHNEIDER ci assicura del livello del risultato editoriale, improntato ad eleganza e a rigore come da sua mai disattesa tradizione.<br /><br />Antonio Paolucci<br />Direttore dei Musei Vaticani<br />dalla Presentazione del I volume</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30515099" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="16e4580ad5e5dee16b38c8a72bd50ff1" rel="nofollow" data-download="{"attachment_id":50962115,"asset_id":30515099,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50962115/download_file?st=MTc0MDA0OTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4316814" href="https://independent.academia.edu/LERMAdiBRETSCHNEIDER">L'ERMA di BRETSCHNEIDER, Publisher</a><script data-card-contents-for-user="4316814" type="text/json">{"id":4316814,"first_name":"L'ERMA di BRETSCHNEIDER,","last_name":"Publisher","domain_name":"independent","page_name":"LERMAdiBRETSCHNEIDER","display_name":"L'ERMA di BRETSCHNEIDER, Publisher","profile_url":"https://independent.academia.edu/LERMAdiBRETSCHNEIDER?f_ri=869","photo":"https://0.academia-photos.com/4316814/1728347/15923094/s65_l_erma_di_bretschneider.publishers.jpg"}</script></span></span></li><li class="js-paper-rank-work_30515099 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30515099"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30515099, container: ".js-paper-rank-work_30515099", }); 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$(".js-view-count[data-work-id=30515099]").text(description); $(".js-view-count-work_30515099").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30515099").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30515099"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">24</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2132" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Heritage">Cultural Heritage</a>, <script data-card-contents-for-ri="2132" type="text/json">{"id":2132,"name":"Cultural Heritage","url":"https://www.academia.edu/Documents/in/Cultural_Heritage?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2987" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_Studies">Renaissance Studies</a><script data-card-contents-for-ri="2987" type="text/json">{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30515099]'), work: {"id":30515099,"title":"TESORI DI ARTE E DI FEDE IL PATRIMONIO ARCHITETTONICO E ARTISTICO DEL FONDO EDIFICI DI CULTO - VOL. I. ITALIA NORD-CENTRO","created_at":"2016-12-19T01:50:14.170-08:00","url":"https://www.academia.edu/30515099/TESORI_DI_ARTE_E_DI_FEDE_IL_PATRIMONIO_ARCHITETTONICO_E_ARTISTICO_DEL_FONDO_EDIFICI_DI_CULTO_VOL_I_ITALIA_NORD_CENTRO?f_ri=869","dom_id":"work_30515099","summary":"A MOST HAVE FOR ART HISTORIANS!\n\nProviamo a tornare indietro nel tempo, al fatale 1866. Quell' anno si completava una fase legislativa cominciata sedici anni prima nel Regno di Sardegna con le leggi Siccardi, veniva infatti emanata la legge post-unitaria che soppresse le Corporazioni religiose. Nel 1867 il governo Rattazzi diede avvio alla liquidazione dell' asse ecclesiastico, la parte cattolica si affrettò a definire eversive entrambe le leggi. Da un giorno all' altro, con un semplice tratto di penna, un ordine clericale e feudale sedimentato stratificato e rimasto immutato nei secoli, collassava e si scioglieva rovinosamente.\nPassavano alla proprietà e all' uso dello Stato gli edifici di Congregazioni, di monasteri, di conventi subito trasformati in tribunali e in scuole, in ospedali e in ospizi, in galere e in caserme. Una quantità incommensurabile di oggetti d' arte mobili affluiva in massa sul mercato facendo la fortuna di miriadi di antiquari fra i quali primeggiava il mercante internazionale Stefano Bardini. Ciò che non finiva disperso o distrutto, (ed era la parte di gran lunga più grande) alimentò per decenni sia il collezionismo privato che quello pubblico; l' uno e l' altro, nelle miserrime condizioni economiche dell' Italia di allora, a destinazione quasi esclusivamente straniera.\nColossali devastazioni, perdite immense ha provocato la demanializzazione del patrimonio ecclesiastico. Evento forse necessario nella fase di passaggio del nostro Paese dall' Antico Regime alla Modernità e tuttavia brutale, doloroso, destinato a lasciare nella coscienza civile degli italiani ferite rimaste a lungo aperte.\nNel vasto naufragio si salvarono dall' uso improprio gli edifici di culto insieme a limitate porzioni dei complessi monumentali più legate o più contigue al culto. Si salvarono perché protette dalla devozione popolare, dalla letteratura, dalla fama degli artisti che vi erano rappresentati, dal loro essere, in maniera più o meno significativa, documenti della storia e della identità nazionali.\nI luoghi sacri conservati al culto pubblico rimasero alla proprietà e quindi alla gestione dello Stato mentre l' autorità religiosa ne assumeva la regolare officiatura. Al F.E.C. (Fondo Edifici di Culto), sono oggi affidate oltre 750 chiese, meno dell' uno per cento del totale (calcolato in circa centomila unità) degli antichi edifici destinati alla pratica religiosa cattolica; dalla Martorana di Palermo a Santa Maria della Misericordia di Taggia, affascinante pinacoteca di pittura ligure-piemontese-fiamminga; da Santa Maria Novella di Firenze a San Bernardino di Aquila, che il terremoto del 2009 ha fatto sentire a tutti noi dolorosamente vicino; dal San Domenico di Napoli, dove dormono i re angioini e aragonesi e Tommaso scrisse la sua Summa Teologia, al Santuario di Fontanellato a Parma, prodigio di eleganza barocca e rococò.\nChi abita da cittadino o attraversa da turista l' Italia storica è difficile che conosca lo status giuridico delle tante chiese dislocate sul territorio nazionale. Del resto che la croce dipinta da Giotto in Santa Maria Novella a Firenze, che i Caravaggio conservati nella Cappella Cerasi di Santa Maria del Popolo a Roma, appartengano allo Stato o all' ente parrocchia o all' ordinario diocesano o alla congregazione religiosa che custodisce quel luogo, apparirà al visitatore irrilevante. Altro è ciò che interessa. Interessano la buona fruibilità di quei capolavori, la loro corretta conservazione e manutenzione, la aggiornata ed efficace presentazione didattica e scientifica. E' consolante accorgerci che questi sono gli obiettivi guida della attuale dirigenza F.E.C..\nLa storia ha costruito l' Italia dissestando distruggendo e poi riassemblando come per un immane rivolgimento tellurico, i suoi strati profondi. Lo strato identitario unificante degli antichi edifici di culto distribuiti su tutto il territorio nazionale dal Piemonte alla Sicilia, è oggi affidato, per una sua piccola ma prestigiosissima porzione, al Fondo Edifici di Culto.\nChi come me ha servito per tanti anni nella amministrazione italiana dei beni culturali e che ora dall' osservatorio privilegiato dei Musei Vaticani è in grado di apprezzare, con attenzione e sensibilità speciali, l' iridescente mirabile mantello di chiese che copre l' Italia, non può che esprimere vivo compiacimento per tale iniziativa editoriale introdotta dalle mie righe.\nUna rete di perfetta affidabilità affidata agli architetti e agli storici dell' arte delle Soprintendenze garantisce la qualità dei testi. L' ERMA di BRETSCHNEIDER ci assicura del livello del risultato editoriale, improntato ad eleganza e a rigore come da sua mai disattesa tradizione.\n\nAntonio Paolucci\nDirettore dei Musei Vaticani\ndalla Presentazione del I volume","downloadable_attachments":[{"id":50962115,"asset_id":30515099,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4316814,"first_name":"L'ERMA di BRETSCHNEIDER,","last_name":"Publisher","domain_name":"independent","page_name":"LERMAdiBRETSCHNEIDER","display_name":"L'ERMA di BRETSCHNEIDER, Publisher","profile_url":"https://independent.academia.edu/LERMAdiBRETSCHNEIDER?f_ri=869","photo":"https://0.academia-photos.com/4316814/1728347/15923094/s65_l_erma_di_bretschneider.publishers.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=869","nofollow":true},{"id":2132,"name":"Cultural Heritage","url":"https://www.academia.edu/Documents/in/Cultural_Heritage?f_ri=869","nofollow":true},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=869","nofollow":true},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting?f_ri=869"},{"id":5459,"name":"Cultural Heritage Conservation","url":"https://www.academia.edu/Documents/in/Cultural_Heritage_Conservation?f_ri=869"},{"id":6735,"name":"Heritage Conservation","url":"https://www.academia.edu/Documents/in/Heritage_Conservation?f_ri=869"},{"id":8796,"name":"Architecture in Italian Renaissance and Baroque Art","url":"https://www.academia.edu/Documents/in/Architecture_in_Italian_Renaissance_and_Baroque_Art?f_ri=869"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=869"},{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?f_ri=869"},{"id":19405,"name":"Cultural Heritage Management","url":"https://www.academia.edu/Documents/in/Cultural_Heritage_Management?f_ri=869"},{"id":19755,"name":"World Cultural Heritage","url":"https://www.academia.edu/Documents/in/World_Cultural_Heritage?f_ri=869"},{"id":22386,"name":"Medieval Art","url":"https://www.academia.edu/Documents/in/Medieval_Art?f_ri=869"},{"id":22407,"name":"Italian Baroque art","url":"https://www.academia.edu/Documents/in/Italian_Baroque_art?f_ri=869"},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869"},{"id":31140,"name":"Italian Renaissance Architectural History","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Architectural_History?f_ri=869"},{"id":31141,"name":"Italian Renaissance Architecture","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Architecture?f_ri=869"},{"id":33133,"name":"Medieval Mediterranean Art and Architecture","url":"https://www.academia.edu/Documents/in/Medieval_Mediterranean_Art_and_Architecture?f_ri=869"},{"id":71918,"name":"Patrimonio Cultural","url":"https://www.academia.edu/Documents/in/Patrimonio_Cultural?f_ri=869"},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=869"},{"id":99833,"name":"Italian late medieval and Renaissance devotional art, ritual, and patronage","url":"https://www.academia.edu/Documents/in/Italian_late_medieval_and_Renaissance_devotional_art_ritual_and_patronage?f_ri=869"},{"id":206582,"name":"Italian Renaissance sculpture","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_sculpture?f_ri=869"},{"id":307997,"name":"Baroque Sculpture","url":"https://www.academia.edu/Documents/in/Baroque_Sculpture?f_ri=869"},{"id":858568,"name":"Italian Gothic sculpture","url":"https://www.academia.edu/Documents/in/Italian_Gothic_sculpture?f_ri=869"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31147638" data-work_id="31147638" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31147638/A_bund%C3%A1tlan_V%C3%A9nusz_A_n%C5%91i_testsz%C5%91rzet_biopolitikai_m%C3%ADtoszai_%C3%A9s_az_eszm%C3%A9nyi_test_politikai_gazdas%C3%A1gtana">A bundátlan Vénusz. A női testszőrzet biopolitikai mítoszai és az „eszményi test” politikai gazdaságtana</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Az utóbbi évtizedben megváltozott a női testszőrzet jelentése és legitimitása. Az empirikus kutatások manapság egyértelműen normának tekintik a szőrtelenítést, melynek következtében a nők döntő többsége több vagy kevesebb meggyőződéssel,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31147638" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Az utóbbi évtizedben megváltozott a női testszőrzet jelentése és legitimitása. Az empirikus kutatások manapság egyértelműen normának tekintik a szőrtelenítést, melynek következtében a nők döntő többsége több vagy kevesebb meggyőződéssel, de megválik nemcsak hónalj- és láb-, de szeméremszőrzetétől is. Ez az írás arra igyekszik válaszokat keresni, vajon miért alakult át ebben az egyetlen vonatkozásban oly módon a női testkép (s részben a férfi is), hogy egyesek az igen erős jelen-tésű „tabu” kifejezést alkalmazzák a szeméremszőrzettel kapcsolatban. Annyiban „tabu”, amennyiben a testet érintő kritikai vizsgálatok ugyan nagy hangsúlyt fektetnek a testsúly, az étkezési rendellenességek összefüggésére és a populáris tabloid média által szuggerált testkép továbbá a növekvő önértékelési zavarokra, ám a test szőrtelenítésével kapcsolatos kérdésfeltevések vagy túl triviálisnak, vagy túl komolytalannak hatottak mindezidáig. A kulturális szociológia, a szociálantropológia, kultúratörténet, a feminista kritika és a gender kutatások vonatkozó irodalma alapján ez az írás erre keresi a választ.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31147638" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2e91fdefcc6d095cdbd442502cee8fa6" rel="nofollow" data-download="{"attachment_id":51582380,"asset_id":31147638,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51582380/download_file?st=MTc0MDA0OTYwOSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="872259" href="https://bkf.academia.edu/ZsoltKHorvath">Zsolt K. Horvath</a><script data-card-contents-for-user="872259" type="text/json">{"id":872259,"first_name":"Zsolt","last_name":"K. Horvath","domain_name":"bkf","page_name":"ZsoltKHorvath","display_name":"Zsolt K. Horvath","profile_url":"https://bkf.academia.edu/ZsoltKHorvath?f_ri=869","photo":"https://0.academia-photos.com/872259/314529/2960919/s65_zsolt.k._horvath.jpg"}</script></span></span></li><li class="js-paper-rank-work_31147638 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31147638"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31147638, container: ".js-paper-rank-work_31147638", }); });</script></li><li class="js-percentile-work_31147638 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31147638; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_31147638"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_31147638 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="31147638"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31147638; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31147638]").text(description); $(".js-view-count-work_31147638").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31147638").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31147638"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="136" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="957" rel="nofollow" href="https://www.academia.edu/Documents/in/Cultural_Sociology">Cultural Sociology</a><script data-card-contents-for-ri="957" type="text/json">{"id":957,"name":"Cultural Sociology","url":"https://www.academia.edu/Documents/in/Cultural_Sociology?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31147638]'), work: {"id":31147638,"title":"A bundátlan Vénusz. A női testszőrzet biopolitikai mítoszai és az „eszményi test” politikai gazdaságtana","created_at":"2017-02-01T06:08:41.437-08:00","url":"https://www.academia.edu/31147638/A_bund%C3%A1tlan_V%C3%A9nusz_A_n%C5%91i_testsz%C5%91rzet_biopolitikai_m%C3%ADtoszai_%C3%A9s_az_eszm%C3%A9nyi_test_politikai_gazdas%C3%A1gtana?f_ri=869","dom_id":"work_31147638","summary":"Az utóbbi évtizedben megváltozott a női testszőrzet jelentése és legitimitása. Az empirikus kutatások manapság egyértelműen normának tekintik a szőrtelenítést, melynek következtében a nők döntő többsége több vagy kevesebb meggyőződéssel, de megválik nemcsak hónalj- és láb-, de szeméremszőrzetétől is. Ez az írás arra igyekszik válaszokat keresni, vajon miért alakult át ebben az egyetlen vonatkozásban oly módon a női testkép (s részben a férfi is), hogy egyesek az igen erős jelen-tésű „tabu” kifejezést alkalmazzák a szeméremszőrzettel kapcsolatban. Annyiban „tabu”, amennyiben a testet érintő kritikai vizsgálatok ugyan nagy hangsúlyt fektetnek a testsúly, az étkezési rendellenességek összefüggésére és a populáris tabloid média által szuggerált testkép továbbá a növekvő önértékelési zavarokra, ám a test szőrtelenítésével kapcsolatos kérdésfeltevések vagy túl triviálisnak, vagy túl komolytalannak hatottak mindezidáig. A kulturális szociológia, a szociálantropológia, kultúratörténet, a feminista kritika és a gender kutatások vonatkozó irodalma alapján ez az írás erre keresi a választ.","downloadable_attachments":[{"id":51582380,"asset_id":31147638,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":872259,"first_name":"Zsolt","last_name":"K. Horvath","domain_name":"bkf","page_name":"ZsoltKHorvath","display_name":"Zsolt K. 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