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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">82,595 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_9038154" data-work_id="9038154" 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/9038154/Tod_und_Leben_an_attischen_Gr%C3%A4bern_der_klassischen_Zeit">Tod und Leben an attischen Gräbern der klassischen Zeit</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">An examination of the paintings on classic attic white ground funerary lekythoi that depict ‘death and grave’ in a tight association with the re-emerging attic grave-reliefs after the middle of the 5th century B.C. leads to the conclusion... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9038154" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">An examination of the paintings on classic attic white ground funerary lekythoi that depict ‘death and grave’ in a tight association with the re-emerging attic grave-reliefs after the middle of the 5th century B.C. leads to the conclusion that here and there not only the social role of the deceased in this world, but also the accomplishment of the experience of death  was a central concern of the images: one hand by describing death as an experienced farewell, but also on the other hand by making strongly aware the potential reunion and lasting community of life and death on the regular erected and visited grave-monument. Especially the rituals described on the grave lekythoi certified on the later grave reliefs that the integrity of familiar communities was not destroyed by death. The painful and disturbing experience of death was integrated in this way as an indispensable part of life in the polis community, but dealing with it also awarded it (in accordance with the established rules) a customizable form, which set structure and a secure hold against the event invading the family all of a sudden. The erection of the tombs and the execution of the rituals attached to it promised - not least also as factors averting fear - the possibility of an ideational cancellation of human finitude.</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/9038154" 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="b2c8a2b0c83e36dbd74a5cd8d497b76a" rel="nofollow" data-download="{"attachment_id":35344330,"asset_id":9038154,"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/35344330/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="11636865" href="https://uni-heidelberg.academia.edu/ProfDrCaterinaMaderna">Caterina Maderna</a><script data-card-contents-for-user="11636865" type="text/json">{"id":11636865,"first_name":"Caterina","last_name":"Maderna","domain_name":"uni-heidelberg","page_name":"ProfDrCaterinaMaderna","display_name":"Caterina Maderna","profile_url":"https://uni-heidelberg.academia.edu/ProfDrCaterinaMaderna?f_ri=869","photo":"https://0.academia-photos.com/11636865/5664434/29155731/s65_caterina.maderna.jpg"}</script></span></span></li><li class="js-paper-rank-work_9038154 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9038154"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9038154, container: ".js-paper-rank-work_9038154", }); 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$(".js-view-count[data-work-id=9038154]").text(description); $(".js-view-count-work_9038154").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9038154").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="9038154"><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="393" rel="nofollow" href="https://www.academia.edu/Documents/in/Classical_Archaeology">Classical Archaeology</a>, <script data-card-contents-for-ri="393" type="text/json">{"id":393,"name":"Classical Archaeology","url":"https://www.academia.edu/Documents/in/Classical_Archaeology?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="2123" rel="nofollow" href="https://www.academia.edu/Documents/in/Death_Studies">Death Studies</a>, <script data-card-contents-for-ri="2123" type="text/json">{"id":2123,"name":"Death Studies","url":"https://www.academia.edu/Documents/in/Death_Studies?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="13950" rel="nofollow" href="https://www.academia.edu/Documents/in/Collective_Memory">Collective Memory</a><script data-card-contents-for-ri="13950" type="text/json">{"id":13950,"name":"Collective Memory","url":"https://www.academia.edu/Documents/in/Collective_Memory?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9038154]'), work: {"id":9038154,"title":"Tod und Leben an attischen Gräbern der klassischen Zeit","created_at":"2014-10-30T16:36:12.053-07:00","url":"https://www.academia.edu/9038154/Tod_und_Leben_an_attischen_Gr%C3%A4bern_der_klassischen_Zeit?f_ri=869","dom_id":"work_9038154","summary":"An examination of the paintings on classic attic white ground funerary lekythoi that depict ‘death and grave’ in a tight association with the re-emerging attic grave-reliefs after the middle of the 5th century B.C. leads to the conclusion that here and there not only the social role of the deceased in this world, but also the accomplishment of the experience of death was a central concern of the images: one hand by describing death as an experienced farewell, but also on the other hand by making strongly aware the potential reunion and lasting community of life and death on the regular erected and visited grave-monument. Especially the rituals described on the grave lekythoi certified on the later grave reliefs that the integrity of familiar communities was not destroyed by death. The painful and disturbing experience of death was integrated in this way as an indispensable part of life in the polis community, but dealing with it also awarded it (in accordance with the established rules) a customizable form, which set structure and a secure hold against the event invading the family all of a sudden. The erection of the tombs and the execution of the rituals attached to it promised - not least also as factors averting fear - the possibility of an ideational cancellation of human finitude.\r\n","downloadable_attachments":[{"id":35344330,"asset_id":9038154,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11636865,"first_name":"Caterina","last_name":"Maderna","domain_name":"uni-heidelberg","page_name":"ProfDrCaterinaMaderna","display_name":"Caterina Maderna","profile_url":"https://uni-heidelberg.academia.edu/ProfDrCaterinaMaderna?f_ri=869","photo":"https://0.academia-photos.com/11636865/5664434/29155731/s65_caterina.maderna.jpg"}],"research_interests":[{"id":393,"name":"Classical Archaeology","url":"https://www.academia.edu/Documents/in/Classical_Archaeology?f_ri=869","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":2123,"name":"Death Studies","url":"https://www.academia.edu/Documents/in/Death_Studies?f_ri=869","nofollow":true},{"id":13950,"name":"Collective Memory","url":"https://www.academia.edu/Documents/in/Collective_Memory?f_ri=869","nofollow":true},{"id":18118,"name":"Ancient Greek Religion","url":"https://www.academia.edu/Documents/in/Ancient_Greek_Religion?f_ri=869"},{"id":38936,"name":"Greek Vases","url":"https://www.academia.edu/Documents/in/Greek_Vases?f_ri=869"},{"id":61091,"name":"Greek Sculpture","url":"https://www.academia.edu/Documents/in/Greek_Sculpture?f_ri=869"},{"id":76110,"name":"Pictorial Narrative","url":"https://www.academia.edu/Documents/in/Pictorial_Narrative?f_ri=869"},{"id":317140,"name":"Greek Funerary Sculpture","url":"https://www.academia.edu/Documents/in/Greek_Funerary_Sculpture?f_ri=869"},{"id":492864,"name":"Classics and Ancient History: society, history and religion of the ancient Greeks","url":"https://www.academia.edu/Documents/in/Classics_and_Ancient_History_society_history_and_religion_of_the_ancient_Greeks?f_ri=869"},{"id":625866,"name":"Culture and death","url":"https://www.academia.edu/Documents/in/Culture_and_death?f_ri=869"},{"id":660770,"name":"'Greek Vases': Iconology and Reading, In Context, Cultural Practices and Transfer","url":"https://www.academia.edu/Documents/in/Greek_Vases_Iconology_and_Reading_In_Context_Cultural_Practices_and_Transfer?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_10686335" data-work_id="10686335" 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/10686335/THE_ICON_OF_THE_MOTHER_OF_GOD_OF_FATIMA">THE ICON OF THE MOTHER OF GOD OF FATIMA</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">MYSTERY OF THE LIGHT THAT IS GOD The icon of the Mother of God of Fátima that now I show you is a symbol that reinforces the predilection that Our Lady has for Russia.. The Virgin in Fátima was full of light, of a light, which, as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10686335" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">MYSTERY OF THE LIGHT THAT IS GOD <br />The icon of the Mother of God of Fátima that now I show you is a symbol that reinforces the predilection that Our Lady has for Russia.. The Virgin in Fátima was full of light, of a light, which, as Francisco said, " is God ". The full of grace is the full of God, and in Fátima it is the full of light: a Lady more brilliant than the Sun. It brings Fátima closer to the theology of the icon. The first icon that every iconographer must paint is that of the Transfiguration, in order that he learns that the Icon must bring the divine world over to men, the God's light to the earth, the God's radiance in the white garments of the orthodox transfigured Christ. It is the same thing that happens with the Virgin of Fátima.</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/10686335" 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="d99afb7316b4531ad2bab73636f0c3eb" rel="nofollow" data-download="{"attachment_id":36590315,"asset_id":10686335,"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/36590315/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="23377702" href="https://independent.academia.edu/OtetsAleksandrBurgos">Otets Aleksandr Burgos</a><script data-card-contents-for-user="23377702" type="text/json">{"id":23377702,"first_name":"Otets Aleksandr","last_name":"Burgos","domain_name":"independent","page_name":"OtetsAleksandrBurgos","display_name":"Otets Aleksandr Burgos","profile_url":"https://independent.academia.edu/OtetsAleksandrBurgos?f_ri=869","photo":"https://0.academia-photos.com/23377702/7154583/38713577/s65_otets_aleksandr.burgos.jpg"}</script></span></span></li><li class="js-paper-rank-work_10686335 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10686335"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10686335, container: ".js-paper-rank-work_10686335", }); 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$(".js-view-count[data-work-id=10686335]").text(description); $(".js-view-count-work_10686335").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10686335").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="10686335"><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="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><a class="InlineList-item-text" data-has-card-for-ri="27745" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Iconography">Roman Iconography</a><script data-card-contents-for-ri="27745" type="text/json">{"id":27745,"name":"Roman Iconography","url":"https://www.academia.edu/Documents/in/Roman_Iconography?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10686335]'), work: {"id":10686335,"title":"THE ICON OF THE MOTHER OF GOD OF FATIMA","created_at":"2015-02-10T14:19:29.839-08:00","url":"https://www.academia.edu/10686335/THE_ICON_OF_THE_MOTHER_OF_GOD_OF_FATIMA?f_ri=869","dom_id":"work_10686335","summary":"MYSTERY OF THE LIGHT THAT IS GOD \nThe icon of the Mother of God of Fátima that now I show you is a symbol that reinforces the predilection that Our Lady has for Russia.. The Virgin in Fátima was full of light, of a light, which, as Francisco said, \" is God \". The full of grace is the full of God, and in Fátima it is the full of light: a Lady more brilliant than the Sun. It brings Fátima closer to the theology of the icon. The first icon that every iconographer must paint is that of the Transfiguration, in order that he learns that the Icon must bring the divine world over to men, the God's light to the earth, the God's radiance in the white garments of the orthodox transfigured Christ. It is the same thing that happens with the Virgin of Fátima.","downloadable_attachments":[{"id":36590315,"asset_id":10686335,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":23377702,"first_name":"Otets Aleksandr","last_name":"Burgos","domain_name":"independent","page_name":"OtetsAleksandrBurgos","display_name":"Otets Aleksandr Burgos","profile_url":"https://independent.academia.edu/OtetsAleksandrBurgos?f_ri=869","photo":"https://0.academia-photos.com/23377702/7154583/38713577/s65_otets_aleksandr.burgos.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":27745,"name":"Roman Iconography","url":"https://www.academia.edu/Documents/in/Roman_Iconography?f_ri=869","nofollow":true},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869"},{"id":483369,"name":"Marian apparitions","url":"https://www.academia.edu/Documents/in/Marian_apparitions?f_ri=869"},{"id":548508,"name":"Iconografia mariana","url":"https://www.academia.edu/Documents/in/Iconografia_mariana?f_ri=869"},{"id":680481,"name":"Marian Iconography","url":"https://www.academia.edu/Documents/in/Marian_Iconography?f_ri=869"},{"id":1222264,"name":"\"Marian Apparitions\" of Fatima, 1917","url":"https://www.academia.edu/Documents/in/_Marian_Apparitions_of_Fatima_1917?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_1259037" data-work_id="1259037" 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/1259037/Apiculture_in_the_Prehistoric_Aegean_Minoan_and_Mycenaean_Symbols_Revisited">Apiculture in the Prehistoric Aegean. Minoan and Mycenaean Symbols Revisited.</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 first part of the book presents archaeological evidence from the Prehistoric Aegean and onward, which demonstrates the existence of an enduring, highly valued and advanced prehistoric Aegean apiculture. Some well known ceramic vessels... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1259037" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The first part of the book presents archaeological evidence from the Prehistoric Aegean and onward, which demonstrates the existence of an enduring, highly valued and advanced prehistoric Aegean apiculture. Some well known ceramic vessels from Knossos "palace" are identified here for the first time with beekeeping paraphernalia thus proving the existence of a systematic Minoan apiculture. In the second part, an alternative view is proposed for some of the most important scenes on Minoan and Mycenaean gold rings, seals, and clay sealings that have led Evans, Nilsson, and many others over the past century to various speculations regarding the nature of the Prehistoric Aegean religion. By applying a naturalistic context of interpretation on the depicted scenes, apiculture paraphernalia and practices are recognized, instead of the religious symbols of the "sacred tree", "flying gods", "baetyls and birds epiphany of deities", "great goddess", "horns of consecration", "altars", "temenos" and "double axes". <br />The authors conclude that established ideas about the prehistoric Aegean religion should be reconsidered, thus creating significant challenges for future research."</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/1259037" 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="61d9844b80e9ece3d50e0e29eb4ef32b" rel="nofollow" data-download="{"attachment_id":33517483,"asset_id":1259037,"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/33517483/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="1190839" href="https://uoi.academia.edu/Haralampos%CE%A7%CE%B1%CF%81%CE%AC%CE%BB%CE%B1%CE%BC%CF%80%CE%BF%CF%82Harissis%CE%A7%CE%B1%CF%81%CE%AF%CF%83%CE%B7%CF%82">Haralampos Harissis (Χαράλαμπος Χαρίσης)</a><script data-card-contents-for-user="1190839" type="text/json">{"id":1190839,"first_name":"Haralampos","last_name":"Harissis (Χαράλαμπος Χαρίσης)","domain_name":"uoi","page_name":"HaralamposΧαράλαμποςHarissisΧαρίσης","display_name":"Haralampos Harissis (Χαράλαμπος Χαρίσης)","profile_url":"https://uoi.academia.edu/Haralampos%CE%A7%CE%B1%CF%81%CE%AC%CE%BB%CE%B1%CE%BC%CF%80%CE%BF%CF%82Harissis%CE%A7%CE%B1%CF%81%CE%AF%CF%83%CE%B7%CF%82?f_ri=869","photo":"https://0.academia-photos.com/1190839/944958/93953975/s65_haralampos.harissis_.jpg"}</script></span></span></li><li class="js-paper-rank-work_1259037 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1259037"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1259037, container: ".js-paper-rank-work_1259037", }); 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By applying a naturalistic context of interpretation on the depicted scenes, apiculture paraphernalia and practices are recognized, instead of the religious symbols of the \"sacred tree\", \"flying gods\", \"baetyls and birds epiphany of deities\", \"great goddess\", \"horns of consecration\", \"altars\", \"temenos\" and \"double axes\".\r\nThe authors conclude that established ideas about the prehistoric Aegean religion should be reconsidered, thus creating significant challenges for future research.\"","downloadable_attachments":[{"id":33517483,"asset_id":1259037,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1190839,"first_name":"Haralampos","last_name":"Harissis (Χαράλαμπος Χαρίσης)","domain_name":"uoi","page_name":"HaralamposΧαράλαμποςHarissisΧαρίσης","display_name":"Haralampos Harissis (Χαράλαμπος 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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/31427871/A_Cockfighting_on_an_Attic_Black_Figured_Alabastron_%CE%91%CE%BB%CE%B5%CE%BA%CF%84%CF%81%CF%85%CF%8C%CE%BD%CF%89%CE%BD_%CE%B1%CE%B3%CF%8E%CE%BD_%CF%83%CE%B5_%CE%BC%CE%B5%CE%BB%CE%B1%CE%BD%CF%8C%CE%BC%CE%BF%CF%81%CF%86%CE%BF_%CE%B1%CF%84%CF%84%CE%B9%CE%BA%CF%8C_%CE%B1%CE%BB%CE%AC%CE%B2%CE%B1%CF%83%CF%84%CF%81%CE%BF_">A Cockfighting on an Attic Black-Figured Alabastron («Αλεκτρυόνων αγών» σε μελανόμορφο αττικό αλάβαστρο)</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 paper explores the picture of an Attic black-figured alabastron, which is now in the Archaeological Collection of the Berlin Museum (Antikensammlung, Berlin, F 2030) and dates back to around 490 BC. The representation depicts a scene... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31427871" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper explores the picture of an Attic black-figured alabastron, which is now in the Archaeological Collection of the Berlin Museum (Antikensammlung, Berlin, F 2030) and dates back to around 490 BC. The representation depicts a scene of preparations before a cockfighting. Two men, one young and one mature, are squatting, facing each other, and holding a cock in their hands, while tow hens stand in front of them. A symbol of bravery, fighting and male sexual supremacy in Attic iconography, the cock is rarely depicted in scenes of female life. What, therefore, could be the meening of a cockfighting on an alabastron, a vase related predominantly to female hygiene?<br />On examining cock images on alabastra and comparing them with other elements of the iconographic repertoire of these vases, this article shows that the alabastron in question does not only depict an impending cockfighting in the usual meaning. The presence of two hens in the middle of the scene, the prize for the victorious cock, moves the competition in the field of the erotic wrestling, Aphrodite’s world, in which women played an important role.</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/31427871" 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="b717d0e74a9b4f050c187431e9fb6442" rel="nofollow" data-download="{"attachment_id":51791247,"asset_id":31427871,"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/51791247/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="966044" href="https://unil.academia.edu/YotaBadinou">Panayota Badinou</a><script data-card-contents-for-user="966044" type="text/json">{"id":966044,"first_name":"Panayota","last_name":"Badinou","domain_name":"unil","page_name":"YotaBadinou","display_name":"Panayota Badinou","profile_url":"https://unil.academia.edu/YotaBadinou?f_ri=869","photo":"https://0.academia-photos.com/966044/385051/3298653/s65_yota.badinou.jpg"}</script></span></span></li><li class="js-paper-rank-work_31427871 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31427871"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31427871, container: ".js-paper-rank-work_31427871", }); 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$(".js-view-count[data-work-id=31427871]").text(description); $(".js-view-count-work_31427871").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31427871").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="31427871"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</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="4917" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_and_Sexuality">Gender and Sexuality</a>, <script data-card-contents-for-ri="4917" type="text/json">{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="59737" rel="nofollow" href="https://www.academia.edu/Documents/in/Aphrodite">Aphrodite</a>, <script data-card-contents-for-ri="59737" type="text/json">{"id":59737,"name":"Aphrodite","url":"https://www.academia.edu/Documents/in/Aphrodite?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="144204" rel="nofollow" href="https://www.academia.edu/Documents/in/Attic_black-figured_vases">Attic black-figured vases</a><script data-card-contents-for-ri="144204" type="text/json">{"id":144204,"name":"Attic black-figured vases","url":"https://www.academia.edu/Documents/in/Attic_black-figured_vases?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31427871]'), work: {"id":31427871,"title":"A Cockfighting on an Attic Black-Figured Alabastron («Αλεκτρυόνων αγών» σε μελανόμορφο αττικό αλάβαστρο)","created_at":"2017-02-14T05:58:16.192-08:00","url":"https://www.academia.edu/31427871/A_Cockfighting_on_an_Attic_Black_Figured_Alabastron_%CE%91%CE%BB%CE%B5%CE%BA%CF%84%CF%81%CF%85%CF%8C%CE%BD%CF%89%CE%BD_%CE%B1%CE%B3%CF%8E%CE%BD_%CF%83%CE%B5_%CE%BC%CE%B5%CE%BB%CE%B1%CE%BD%CF%8C%CE%BC%CE%BF%CF%81%CF%86%CE%BF_%CE%B1%CF%84%CF%84%CE%B9%CE%BA%CF%8C_%CE%B1%CE%BB%CE%AC%CE%B2%CE%B1%CF%83%CF%84%CF%81%CE%BF_?f_ri=869","dom_id":"work_31427871","summary":"This paper explores the picture of an Attic black-figured alabastron, which is now in the Archaeological Collection of the Berlin Museum (Antikensammlung, Berlin, F 2030) and dates back to around 490 BC. The representation depicts a scene of preparations before a cockfighting. Two men, one young and one mature, are squatting, facing each other, and holding a cock in their hands, while tow hens stand in front of them. A symbol of bravery, fighting and male sexual supremacy in Attic iconography, the cock is rarely depicted in scenes of female life. What, therefore, could be the meening of a cockfighting on an alabastron, a vase related predominantly to female hygiene?\nOn examining cock images on alabastra and comparing them with other elements of the iconographic repertoire of these vases, this article shows that the alabastron in question does not only depict an impending cockfighting in the usual meaning. The presence of two hens in the middle of the scene, the prize for the victorious cock, moves the competition in the field of the erotic wrestling, Aphrodite’s world, in which women played an important role.","downloadable_attachments":[{"id":51791247,"asset_id":31427871,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":966044,"first_name":"Panayota","last_name":"Badinou","domain_name":"unil","page_name":"YotaBadinou","display_name":"Panayota Badinou","profile_url":"https://unil.academia.edu/YotaBadinou?f_ri=869","photo":"https://0.academia-photos.com/966044/385051/3298653/s65_yota.badinou.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":4917,"name":"Gender and Sexuality","url":"https://www.academia.edu/Documents/in/Gender_and_Sexuality?f_ri=869","nofollow":true},{"id":59737,"name":"Aphrodite","url":"https://www.academia.edu/Documents/in/Aphrodite?f_ri=869","nofollow":true},{"id":144204,"name":"Attic black-figured vases","url":"https://www.academia.edu/Documents/in/Attic_black-figured_vases?f_ri=869","nofollow":true},{"id":2638563,"name":"alabastron","url":"https://www.academia.edu/Documents/in/alabastron?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_32375772" data-work_id="32375772" 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/32375772/2016_OPEN_ACCESS_San_Salvatore_a_Barzan%C3%B2_Da_chiesa_privata_a_canonica_battesimale_tra_storia_architettura_e_congegno_figurativo_from_Private_Church_to_Baptismal_Collegiate_Church_A_Historical_Architectural_and_Art_historical_Enquiry_FULL_TEXT_http_hdl_handle_net_2434_479712">2016 OPEN ACCESS, San Salvatore a Barzanò. Da chiesa privata a canonica battesimale, tra storia, architettura e congegno figurativo [from Private Church to Baptismal Collegiate Church. A Historical, Architectural and Art-historical Enquiry] FULL TEXT: http://hdl.handle.net/2434/479712</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">San Salvatore at Barzanò, from Private Church to Baptismal Collegiate Church. A Historical, Architectural and Art-historical Enquiry During the Middle Ages Barzanò was a small village forty km northeast of Milan. The site was first... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32375772" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">San Salvatore at Barzanò, from Private Church to Baptismal Collegiate Church. A Historical, Architectural and Art-historical Enquiry <br /> <br />During the Middle Ages Barzanò was a small village forty km northeast of Milan. The site was first mentioned in 1015: due to a privilege of Emperor Henry II, the bishop of Como was granted quandam curtem que dicitur Villa Barzanorum, as a personal possession. The privilege was confirmed in 1055 by Emperor Henry III. In the late twelfth century this territory would appear under the control of "da Porta orientale" family, originating from the east side of Milan. At end of the thirteenth century, the church of San Salvatore is documented as part of the diocese of Milan and controlled by "da Pirovano" family, also originating from Milan. The church was probably founded in the late tenth century as a private chapel, on the southeast side of a high ground, perhaps already fortified. <br /> <br />The church of Phase 1, consisting of a square shaped hall (6x6,5 meters) with a barrel-vaulted apse, is still partly recognisable in today's building. <br /> <br />At the very beginning of the eleventh century the bell-tower was built first (Phase 2a), then the western bay, transforming the first facade in arcade (Phase 2b). The entire nave floor was raised by 0,8 meters, both to level the hill slope and to make room for a crypt under the apse. Two flight of stairs were probably positioned along the walls, three meters east from those still existing. The pre-Romanesque crypts of San Pietro al Monte at Civate, San Daniele alla Pedeserva, and San Salvatore at Almenno are comparable in several aspects. Finally, an early christian sarcophagus was placed in the middle of the nave. It was likely the burial of the dominus, i.e. the head of the household owning the church. <br /> <br />Most likely in the late eleventh century, the chapel of San Salvatore evolved in baptismal collegiate church. It was the occasion for a further architectural renovation (Phase 3). A masonry dome on squinches, arcades and piers was built inside the central bay, squeezed up against the walls. The first (disappeared) baptismal font was set up under the dome. <br /> <br />The last medieval renovation dates back to the beginning of the thirteenth century (Phase 4). The apse and the crypt were extended towards the nave by the excavation of a corridor/trench covered by timber ceiling. The additional space was connected to the vaulted bay by two arcades, which were obtained demolishing the wall, while the stairs were 'moved' three meters west. The reorganisation of the liturgical space implied the dismantling of the first baptismal font. The monumental western portal, dated 1231, was realised quite possibly in the same phase. <br /> <br />In the need to provide a new baptismal font, a workshop experienced in fine stone-cutting was hired, able to engineer and realise an octagonal structure consisting of no less than 49 pieces (considering those allegedly lost) assembled with meticulous precision. <br />In San Salvatore there is neither material nor written evidence of an altar of Saint John the Baptist, even though it was used during the baptism, in particular in ambrosian context. Why shouldn't there have been such an altar in San Salvatore? Was it perhaps a movable wooden one? The question still stands. <br /> <br />A mural decoration completed the renovation of Phase 3, that means presumably in the late eleventh century. A peculiar cycle of Christ folds out in the domed bay, modestly preserved despite the 2009-2010 fine restoration. <br />The radial composition of the dome could be interpreted as the last episode of the christological cycle: the Pentecost, also considering the mural icon of the Virgin with Child at the base, or rather the Mission of the apostles to the four corners of the World.  The meander band at the base of the dome seems to point out the line between earthly and heavenly dimension. Given the above, the painted dome could also be seen as a teophanic apparition of the Lord/Christ with his heavenly court, or even a synthetic representation of the heavenly Jerusalem. <br />The experienced workshop rooted its language in the ottonian culture; nevertheless, it doesn't automatically imply a chronology by the beginning of the eleventh century, as suggested by some scholars trusting only the "stylistic" analysis. Referring to the Middle Ages, the role of traditions, the strength of models of reference, the persistence of pictorial patterns, and the really slow transformations inside a workshop, should be stressed. In such a situation, architectural features are much more reliable as a chronological indicator; in this case they suggest the late eleventh century, which is not in contrast to what is depicted.</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/32375772" 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="08d7a33c342cd4d5ae7e1205e94c13b2" rel="nofollow" data-download="{"attachment_id":57341367,"asset_id":32375772,"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/57341367/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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></li><li class="js-paper-rank-work_32375772 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32375772"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32375772, container: ".js-paper-rank-work_32375772", }); 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$(".js-view-count[data-work-id=32375772]").text(description); $(".js-view-count-work_32375772").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32375772").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="32375772"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</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="7172" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Medieval_Archaeology">Early Medieval Archaeology</a>, <script data-card-contents-for-ri="7172" type="text/json">{"id":7172,"name":"Early Medieval Archaeology","url":"https://www.academia.edu/Documents/in/Early_Medieval_Archaeology?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7629" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Medieval_History">Early Medieval History</a>, <script data-card-contents-for-ri="7629" type="text/json">{"id":7629,"name":"Early Medieval History","url":"https://www.academia.edu/Documents/in/Early_Medieval_History?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="7870" rel="nofollow" href="https://www.academia.edu/Documents/in/Medieval_Archaeology">Medieval Archaeology</a><script data-card-contents-for-ri="7870" type="text/json">{"id":7870,"name":"Medieval Archaeology","url":"https://www.academia.edu/Documents/in/Medieval_Archaeology?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32375772]'), work: {"id":32375772,"title":"2016 OPEN ACCESS, San Salvatore a Barzanò. Da chiesa privata a canonica battesimale, tra storia, architettura e congegno figurativo [from Private Church to Baptismal Collegiate Church. A Historical, Architectural and Art-historical Enquiry] FULL TEXT: http://hdl.handle.net/2434/479712","created_at":"2017-04-11T02:08:14.859-07:00","url":"https://www.academia.edu/32375772/2016_OPEN_ACCESS_San_Salvatore_a_Barzan%C3%B2_Da_chiesa_privata_a_canonica_battesimale_tra_storia_architettura_e_congegno_figurativo_from_Private_Church_to_Baptismal_Collegiate_Church_A_Historical_Architectural_and_Art_historical_Enquiry_FULL_TEXT_http_hdl_handle_net_2434_479712?f_ri=869","dom_id":"work_32375772","summary":"San Salvatore at Barzanò, from Private Church to Baptismal Collegiate Church. A Historical, Architectural and Art-historical Enquiry\r\n\r\nDuring the Middle Ages Barzanò was a small village forty km northeast of Milan. The site was first mentioned in 1015: due to a privilege of Emperor Henry II, the bishop of Como was granted quandam curtem que dicitur Villa Barzanorum, as a personal possession. The privilege was confirmed in 1055 by Emperor Henry III. In the late twelfth century this territory would appear under the control of \"da Porta orientale\" family, originating from the east side of Milan. At end of the thirteenth century, the church of San Salvatore is documented as part of the diocese of Milan and controlled by \"da Pirovano\" family, also originating from Milan. The church was probably founded in the late tenth century as a private chapel, on the southeast side of a high ground, perhaps already fortified. \r\n\r\nThe church of Phase 1, consisting of a square shaped hall (6x6,5 meters) with a barrel-vaulted apse, is still partly recognisable in today's building.\r\n\r\nAt the very beginning of the eleventh century the bell-tower was built first (Phase 2a), then the western bay, transforming the first facade in arcade (Phase 2b). The entire nave floor was raised by 0,8 meters, both to level the hill slope and to make room for a crypt under the apse. Two flight of stairs were probably positioned along the walls, three meters east from those still existing. The pre-Romanesque crypts of San Pietro al Monte at Civate, San Daniele alla Pedeserva, and San Salvatore at Almenno are comparable in several aspects. Finally, an early christian sarcophagus was placed in the middle of the nave. It was likely the burial of the dominus, i.e. the head of the household owning the church.\r\n\r\nMost likely in the late eleventh century, the chapel of San Salvatore evolved in baptismal collegiate church. It was the occasion for a further architectural renovation (Phase 3). A masonry dome on squinches, arcades and piers was built inside the central bay, squeezed up against the walls. The first (disappeared) baptismal font was set up under the dome.\r\n\r\nThe last medieval renovation dates back to the beginning of the thirteenth century (Phase 4). The apse and the crypt were extended towards the nave by the excavation of a corridor/trench covered by timber ceiling. The additional space was connected to the vaulted bay by two arcades, which were obtained demolishing the wall, while the stairs were 'moved' three meters west. The reorganisation of the liturgical space implied the dismantling of the first baptismal font. The monumental western portal, dated 1231, was realised quite possibly in the same phase. \r\n\r\nIn the need to provide a new baptismal font, a workshop experienced in fine stone-cutting was hired, able to engineer and realise an octagonal structure consisting of no less than 49 pieces (considering those allegedly lost) assembled with meticulous precision. \r\nIn San Salvatore there is neither material nor written evidence of an altar of Saint John the Baptist, even though it was used during the baptism, in particular in ambrosian context. Why shouldn't there have been such an altar in San Salvatore? Was it perhaps a movable wooden one? The question still stands.\r\n\r\nA mural decoration completed the renovation of Phase 3, that means presumably in the late eleventh century. A peculiar cycle of Christ folds out in the domed bay, modestly preserved despite the 2009-2010 fine restoration.\r\nThe radial composition of the dome could be interpreted as the last episode of the christological cycle: the Pentecost, also considering the mural icon of the Virgin with Child at the base, or rather the Mission of the apostles to the four corners of the World. The meander band at the base of the dome seems to point out the line between earthly and heavenly dimension. Given the above, the painted dome could also be seen as a teophanic apparition of the Lord/Christ with his heavenly court, or even a synthetic representation of the heavenly Jerusalem. \r\nThe experienced workshop rooted its language in the ottonian culture; nevertheless, it doesn't automatically imply a chronology by the beginning of the eleventh century, as suggested by some scholars trusting only the \"stylistic\" analysis. Referring to the Middle Ages, the role of traditions, the strength of models of reference, the persistence of pictorial patterns, and the really slow transformations inside a workshop, should be stressed. In such a situation, architectural features are much more reliable as a chronological indicator; in this case they suggest the late eleventh century, which is not in contrast to what is depicted.","downloadable_attachments":[{"id":57341367,"asset_id":32375772,"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"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":7172,"name":"Early Medieval Archaeology","url":"https://www.academia.edu/Documents/in/Early_Medieval_Archaeology?f_ri=869","nofollow":true},{"id":7629,"name":"Early Medieval History","url":"https://www.academia.edu/Documents/in/Early_Medieval_History?f_ri=869","nofollow":true},{"id":7870,"name":"Medieval Archaeology","url":"https://www.academia.edu/Documents/in/Medieval_Archaeology?f_ri=869","nofollow":true},{"id":14642,"name":"Medieval Architecture","url":"https://www.academia.edu/Documents/in/Medieval_Architecture?f_ri=869"},{"id":17045,"name":"Romanesque Art","url":"https://www.academia.edu/Documents/in/Romanesque_Art?f_ri=869"},{"id":23065,"name":"Early Middle Ages (History)","url":"https://www.academia.edu/Documents/in/Early_Middle_Ages_History_?f_ri=869"},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869"},{"id":57721,"name":"Romanesque architecture","url":"https://www.academia.edu/Documents/in/Romanesque_architecture?f_ri=869"},{"id":82415,"name":"Romanesque Sculpture","url":"https://www.academia.edu/Documents/in/Romanesque_Sculpture?f_ri=869"},{"id":83175,"name":"Christian Archaeology","url":"https://www.academia.edu/Documents/in/Christian_Archaeology?f_ri=869"},{"id":85970,"name":"Romanesque Wall Painting","url":"https://www.academia.edu/Documents/in/Romanesque_Wall_Painting?f_ri=869"},{"id":87582,"name":"Baptismal Fonts","url":"https://www.academia.edu/Documents/in/Baptismal_Fonts?f_ri=869"},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869"},{"id":107797,"name":"Roman Sarcophagi","url":"https://www.academia.edu/Documents/in/Roman_Sarcophagi?f_ri=869"},{"id":122938,"name":"Medieval Wall Paintings","url":"https://www.academia.edu/Documents/in/Medieval_Wall_Paintings?f_ri=869"},{"id":688679,"name":"Sources (Medieval Studies)","url":"https://www.academia.edu/Documents/in/Sources_Medieval_Studies_?f_ri=869"},{"id":918198,"name":"Pre-romanesque Architecture","url":"https://www.academia.edu/Documents/in/Pre-romanesque_Architecture?f_ri=869"},{"id":1674112,"name":"Baptismal Liturgy","url":"https://www.academia.edu/Documents/in/Baptismal_Liturgy?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_2543887" data-work_id="2543887" 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/2543887/Fro_Paris_to_Inglond_The_danse_macabre_in_text_and_image_in_late_medieval_England_open_access_see_weblink_">'Fro Paris to Inglond'? The danse macabre in text and image in late-medieval England (open-access: see weblink)</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 thesis examines the character, spread, development and influence of the Dance of Death or danse macabre theme in late-medieval England within its literary, socio- and art-historical context. It traces the origins of the theme and,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2543887" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis examines the character, spread, development and influence of the Dance of Death or danse macabre theme in late-medieval England within its literary, socio- and art-historical context. It traces the origins of the theme and, following the deaths in 1422 of the English king Henry V and Charles VI of France, its adaptation to the political circumstances in English-occupied Paris by means of a famous (lost) mural in the cemetery of Les Saints Innocents painted in 1424-25. The French poem in this mural was translated into English by John Lydgate and incorporated into a (lost) painted scheme at Old St Paul's Cathedral, London. The theme subsequently spread to other parts of Europe. Two murals in Basel were to influence the artist Hans Holbein the Younger, who designed a famous series of danse macabre woodcuts (published in 1538). The thesis explores the likelihood of cryptoportraits within the Paris mural and other schemes. The loss of the majority of English medieval art means that the true importance of the danse macabre has hitherto been underestimated. However, influences of the danse macabre can be identified in English late-medieval and renaissance poetry and drama, tomb iconography, misericords, prints and other forms of art.</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/2543887" 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="96483f604c72991a99606ae0b79e8166" rel="nofollow" data-download="{"attachment_id":51802842,"asset_id":2543887,"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/51802842/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="150447" href="https://independent.academia.edu/SophieOosterwijk">Sophie Oosterwijk</a><script data-card-contents-for-user="150447" type="text/json">{"id":150447,"first_name":"Sophie","last_name":"Oosterwijk","domain_name":"independent","page_name":"SophieOosterwijk","display_name":"Sophie Oosterwijk","profile_url":"https://independent.academia.edu/SophieOosterwijk?f_ri=869","photo":"https://0.academia-photos.com/150447/165971/25275952/s65_sophie.oosterwijk.png"}</script></span></span></li><li class="js-paper-rank-work_2543887 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2543887"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2543887, container: ".js-paper-rank-work_2543887", }); 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The danse macabre in text and image in late-medieval England (open-access: see weblink)","created_at":"2013-02-09T21:59:19.151-08:00","url":"https://www.academia.edu/2543887/Fro_Paris_to_Inglond_The_danse_macabre_in_text_and_image_in_late_medieval_England_open_access_see_weblink_?f_ri=869","dom_id":"work_2543887","summary":"This thesis examines the character, spread, development and influence of the Dance of Death or danse macabre theme in late-medieval England within its literary, socio- and art-historical context. It traces the origins of the theme and, following the deaths in 1422 of the English king Henry V and Charles VI of France, its adaptation to the political circumstances in English-occupied Paris by means of a famous (lost) mural in the cemetery of Les Saints Innocents painted in 1424-25. The French poem in this mural was translated into English by John Lydgate and incorporated into a (lost) painted scheme at Old St Paul's Cathedral, London. The theme subsequently spread to other parts of Europe. Two murals in Basel were to influence the artist Hans Holbein the Younger, who designed a famous series of danse macabre woodcuts (published in 1538). The thesis explores the likelihood of cryptoportraits within the Paris mural and other schemes. The loss of the majority of English medieval art means that the true importance of the danse macabre has hitherto been underestimated. However, influences of the danse macabre can be identified in English late-medieval and renaissance poetry and drama, tomb iconography, misericords, prints and other forms of art.","downloadable_attachments":[{"id":51802842,"asset_id":2543887,"asset_type":"Work","always_allow_download":false},{"id":51802844,"asset_id":2543887,"asset_type":"Work","always_allow_download":false},{"id":37571139,"asset_id":2543887,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":150447,"first_name":"Sophie","last_name":"Oosterwijk","domain_name":"independent","page_name":"SophieOosterwijk","display_name":"Sophie Oosterwijk","profile_url":"https://independent.academia.edu/SophieOosterwijk?f_ri=869","photo":"https://0.academia-photos.com/150447/165971/25275952/s65_sophie.oosterwijk.png"}],"research_interests":[{"id":659,"name":"Comparative Literature","url":"https://www.academia.edu/Documents/in/Comparative_Literature?f_ri=869","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":1228,"name":"Medieval Literature","url":"https://www.academia.edu/Documents/in/Medieval_Literature?f_ri=869","nofollow":true},{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=869","nofollow":true},{"id":2122,"name":"Death","url":"https://www.academia.edu/Documents/in/Death?f_ri=869"},{"id":2123,"name":"Death Studies","url":"https://www.academia.edu/Documents/in/Death_Studies?f_ri=869"},{"id":2332,"name":"Medieval French Literature","url":"https://www.academia.edu/Documents/in/Medieval_French_Literature?f_ri=869"},{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=869"},{"id":4805,"name":"Medieval English Literature","url":"https://www.academia.edu/Documents/in/Medieval_English_Literature?f_ri=869"},{"id":5239,"name":"Death \u0026 Dying (Thanatology)","url":"https://www.academia.edu/Documents/in/Death_and_Dying_Thanatology_?f_ri=869"},{"id":14606,"name":"Medieval France","url":"https://www.academia.edu/Documents/in/Medieval_France?f_ri=869"},{"id":17562,"name":"Death and Burial (Archaeology)","url":"https://www.academia.edu/Documents/in/Death_and_Burial_Archaeology_?f_ri=869"},{"id":18226,"name":"Medieval Culture","url":"https://www.academia.edu/Documents/in/Medieval_Culture?f_ri=869"},{"id":21742,"name":"Anthropology of Death","url":"https://www.academia.edu/Documents/in/Anthropology_of_Death?f_ri=869"},{"id":22386,"name":"Medieval Art","url":"https://www.academia.edu/Documents/in/Medieval_Art?f_ri=869"},{"id":26891,"name":"Manuscripts (Medieval Studies)","url":"https://www.academia.edu/Documents/in/Manuscripts_Medieval_Studies_?f_ri=869"},{"id":28998,"name":"Middle English literature and culture","url":"https://www.academia.edu/Documents/in/Middle_English_literature_and_culture?f_ri=869"},{"id":35456,"name":"15th Century Burgundy","url":"https://www.academia.edu/Documents/in/15th_Century_Burgundy?f_ri=869"},{"id":90199,"name":"Medieval Iconography","url":"https://www.academia.edu/Documents/in/Medieval_Iconography?f_ri=869"},{"id":122938,"name":"Medieval Wall Paintings","url":"https://www.academia.edu/Documents/in/Medieval_Wall_Paintings?f_ri=869"},{"id":218467,"name":"Medieval Danse Macabre","url":"https://www.academia.edu/Documents/in/Medieval_Danse_Macabre?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_29295076 coauthored" data-work_id="29295076" 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/29295076/%D0%9D_%D0%9F_%D0%9A%D0%BE%D0%BD%D0%B4%D0%B0%D0%BA%D0%BE%D0%B2_%D0%98%D0%BA%D0%BE%D0%BD%D0%BE%D0%B3%D1%80%D0%B0%D1%84%D0%B8%D1%8F_%D0%91%D0%BE%D0%B3%D0%BE%D0%BC%D0%B0%D1%82%D0%B5%D1%80%D0%B8_%D0%A2om_1_Ikonografie_Bohorodi%C4%8Dky_D%C3%ADl_1_Iconography_of_the_Mother_of_God_Volume_1_">Н. П. Кондаков: Иконография Богоматери (Тom 1) / Ikonografie Bohorodičky ( Díl 1) / Iconography of the Mother of God (Volume 1)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Kniha byla vydána v Petrohradu roku 1914 / The book was published in St. Petersburg in 1914 / Книга была издана в Санкт-Петербурге в 1914 году</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/29295076" 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="589992d3aa3a7a45b7bb4118f0281ff4" rel="nofollow" data-download="{"attachment_id":49737775,"asset_id":29295076,"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/49737775/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="33193008" href="https://independent.academia.edu/DigitallibraryUzhgorod">Digital library Bohemia</a><script data-card-contents-for-user="33193008" type="text/json">{"id":33193008,"first_name":"Digital library","last_name":"Bohemia","domain_name":"independent","page_name":"DigitallibraryUzhgorod","display_name":"Digital library Bohemia","profile_url":"https://independent.academia.edu/DigitallibraryUzhgorod?f_ri=869","photo":"https://0.academia-photos.com/33193008/9845331/15730588/s65_digital_library.uzhgorod.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-29295076">+1</span><div class="hidden js-additional-users-29295076"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://cuni.academia.edu/NicodemPavlovitchKondakov">Nicodim Pavlovitch Kondakov</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-29295076'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-29295076').html(); 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Кондаков: Иконография Богоматери (Тom 1) / Ikonografie Bohorodičky ( Díl 1) / Iconography of the Mother of God (Volume 1)","created_at":"2016-10-20T04:18:56.253-07:00","url":"https://www.academia.edu/29295076/%D0%9D_%D0%9F_%D0%9A%D0%BE%D0%BD%D0%B4%D0%B0%D0%BA%D0%BE%D0%B2_%D0%98%D0%BA%D0%BE%D0%BD%D0%BE%D0%B3%D1%80%D0%B0%D1%84%D0%B8%D1%8F_%D0%91%D0%BE%D0%B3%D0%BE%D0%BC%D0%B0%D1%82%D0%B5%D1%80%D0%B8_%D0%A2om_1_Ikonografie_Bohorodi%C4%8Dky_D%C3%ADl_1_Iconography_of_the_Mother_of_God_Volume_1_?f_ri=869","dom_id":"work_29295076","summary":"Kniha byla vydána v Petrohradu roku 1914 / The book was published in St. Petersburg in 1914 / Книга была издана в Санкт-Петербурге в 1914 году","downloadable_attachments":[{"id":49737775,"asset_id":29295076,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33193008,"first_name":"Digital library","last_name":"Bohemia","domain_name":"independent","page_name":"DigitallibraryUzhgorod","display_name":"Digital library Bohemia","profile_url":"https://independent.academia.edu/DigitallibraryUzhgorod?f_ri=869","photo":"https://0.academia-photos.com/33193008/9845331/15730588/s65_digital_library.uzhgorod.jpg"},{"id":55261781,"first_name":"Nicodim Pavlovitch","last_name":"Kondakov","domain_name":"cuni","page_name":"NicodemPavlovitchKondakov","display_name":"Nicodim Pavlovitch Kondakov","profile_url":"https://cuni.academia.edu/NicodemPavlovitchKondakov?f_ri=869","photo":"https://0.academia-photos.com/55261781/14566460/15514086/s65_nicodim_pavlovitch.kondakov.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=869","nofollow":true},{"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":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting?f_ri=869","nofollow":true},{"id":14639,"name":"Byzantine Iconography","url":"https://www.academia.edu/Documents/in/Byzantine_Iconography?f_ri=869"},{"id":22386,"name":"Medieval Art","url":"https://www.academia.edu/Documents/in/Medieval_Art?f_ri=869"},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869"},{"id":38045,"name":"Russian Art","url":"https://www.academia.edu/Documents/in/Russian_Art?f_ri=869"},{"id":53879,"name":"Medieval Art History","url":"https://www.academia.edu/Documents/in/Medieval_Art_History?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 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href="https://www.academia.edu/57325927/%C4%B0BRAH%C4%B0M_%C3%87E%C5%9EMEL%C4%B0_2021_ESK%C4%B0_PAGAN_UYGARLIKLARDA_KOZMOLOJ%C4%B0_PLE%C4%B0ADES_HATHORLAR_MUL_MUL_PERV%C4%B0Z_PERV%C4%B0N_EL_THURAYYA_KR%C4%B0TT%C4%B0KA_MAO_VE_%C3%9CLGER_%C3%9CLKER_%C4%B0KONOGRAF%C4%B0S%C4%B0_DO%C4%9EUDAN_BATIYA_Y%C3%9CKSELEN_ESK%C4%B0_UYGARLIKLARDA_ARKEOLOJ%C4%B0K_VE_SANATSAL_YANSIMALAR_%C4%B0LE_ETK%C4%B0LE%C5%9E%C4%B0MLER_ED%C4%B0T%C3%96RLER_%C4%B0BRAH%C4%B0M_%C3%87E%C5%9EMEL%C4%B0_CENK_BERKANT">İBRAHİM ÇEŞMELİ.2021."ESKİ PAGAN UYGARLIKLARDA KOZMOLOJİ: PLEİADES, HATHORLAR, MUL.MUL, PERVİZ (PERVİN) , EL-THURAYYA, KRİTTİKA, MAO VE ÜLGER (ÜLKER) İKONOGRAFİSİ", DOĞUDAN BATIYA YÜKSELEN ESKİ UYGARLIKLARDA ARKEOLOJİK VE SANATSAL YANSIMALAR İLE ETKİLEŞİMLER, EDİTÖRLER İBRAHİM ÇEŞMELİ-CENK BERKANT.</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 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IBRAHIM","last_name":"CESMELI","domain_name":"istanbul","page_name":"IBRAHIMCESMELI","display_name":"PROF.DR. IBRAHIM CESMELI","profile_url":"https://istanbul.academia.edu/IBRAHIMCESMELI?f_ri=869","photo":"https://0.academia-photos.com/3923810/1467366/7190612/s65_ibrahim.cesmeli.jpg"}],"research_interests":[{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=869","nofollow":true},{"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":3791,"name":"Mesopotamian Archaeology","url":"https://www.academia.edu/Documents/in/Mesopotamian_Archaeology?f_ri=869","nofollow":true},{"id":7833,"name":"Study of Religions","url":"https://www.academia.edu/Documents/in/Study_of_Religions?f_ri=869"},{"id":13542,"name":"Mesopotamian Religions","url":"https://www.academia.edu/Documents/in/Mesopotamian_Religions?f_ri=869"},{"id":31533,"name":"Vedic Cosmology and Cosmography","url":"https://www.academia.edu/Documents/in/Vedic_Cosmology_and_Cosmography?f_ri=869"},{"id":34373,"name":"Ancient Egyptian Cosmology","url":"https://www.academia.edu/Documents/in/Ancient_Egyptian_Cosmology?f_ri=869"},{"id":41126,"name":"Ancient Astronomy","url":"https://www.academia.edu/Documents/in/Ancient_Astronomy?f_ri=869"},{"id":56345,"name":"Cosmolgy","url":"https://www.academia.edu/Documents/in/Cosmolgy?f_ri=869"},{"id":87537,"name":"Pleiades","url":"https://www.academia.edu/Documents/in/Pleiades?f_ri=869"},{"id":263294,"name":"Ancient astrology","url":"https://www.academia.edu/Documents/in/Ancient_astrology?f_ri=869"},{"id":461504,"name":"Ancient Cosmology","url":"https://www.academia.edu/Documents/in/Ancient_Cosmology?f_ri=869"},{"id":1249187,"name":"Ancient Chinese Cosmology","url":"https://www.academia.edu/Documents/in/Ancient_Chinese_Cosmology?f_ri=869"},{"id":1473191,"name":"ancient Iranian cosmology","url":"https://www.academia.edu/Documents/in/ancient_Iranian_cosmology?f_ri=869"},{"id":1981988,"name":"Ancient Greek cosmology","url":"https://www.academia.edu/Documents/in/Ancient_Greek_cosmology?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_2583490" data-work_id="2583490" 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/2583490/The_Death_of_the_Virgin_Mary_1295_in_the_Macedonian_church_of_the_Panagia_Peribleptos_in_Ohrid_Iconographic_interpretation_from_the_perspective_of_three_apocryphal_writings">The Death of the Virgin Mary (1295) in the Macedonian church of the Panagia Peribleptos in Ohrid. Iconographic interpretation from the perspective of three apocryphal writings</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Painted in 1295 by the Greek painters Michael Astrapas and Eutychios, the fresco of the Virgin's Death (Koimesis) in the church of Panagia Peribleptos in Ohrid, Macedonia, highlights the main events described by the apocryphal stories on... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2583490" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Painted in 1295 by the Greek painters Michael Astrapas and Eutychios, the fresco of the Virgin's Death (Koimesis) in the church of Panagia Peribleptos in Ohrid, Macedonia, highlights the main events described by the apocryphal stories on the death, the burial, the resurrection and the assumption of Mary, reinterpreted by the theologians and the hymns' writers. This mural painting integrates in a diachronic development the scenes of the Virgin's farewell to her friends, the coming of the apostles on clouds, the death, the funeral and the burial of Mary, including the episode on the attempt of desecration, the punishment and the conversion of a Jew named Jephonias, as well as the Virgin's assumption, a subject performed for the first time in art. This article tries to explain and to illustrate the iconographic elements contained in this mural painting, analyzing them from the perspective of three apocryphal texts on the Mary's death and assumption. Through such analysis we would highlight the direct and essential influence of certain Literature (apocryphal) in the creation of certain History, understood at the same time as History of Art (iconography) and History of Religions (dogmatic).</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/2583490" 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="3b2bb5234b0efe72e09f5abe366c89c0" rel="nofollow" data-download="{"attachment_id":30612548,"asset_id":2583490,"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/30612548/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="3336690" href="https://ucm.academia.edu/josemariasalvadorgonzalez">José María SALVADOR-GONZALEZ</a><script data-card-contents-for-user="3336690" type="text/json">{"id":3336690,"first_name":"José María","last_name":"SALVADOR-GONZALEZ","domain_name":"ucm","page_name":"josemariasalvadorgonzalez","display_name":"José María SALVADOR-GONZALEZ","profile_url":"https://ucm.academia.edu/josemariasalvadorgonzalez?f_ri=869","photo":"https://0.academia-photos.com/3336690/2716191/3162958/s65_jos_mar_a.salvador_gonzalez.jpg"}</script></span></span></li><li class="js-paper-rank-work_2583490 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2583490"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2583490, container: ".js-paper-rank-work_2583490", }); 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Iconographic interpretation from the perspective of three apocryphal writings","created_at":"2013-02-16T04:49:00.230-08:00","url":"https://www.academia.edu/2583490/The_Death_of_the_Virgin_Mary_1295_in_the_Macedonian_church_of_the_Panagia_Peribleptos_in_Ohrid_Iconographic_interpretation_from_the_perspective_of_three_apocryphal_writings?f_ri=869","dom_id":"work_2583490","summary":"Painted in 1295 by the Greek painters Michael Astrapas and Eutychios, the fresco of the Virgin's Death (Koimesis) in the church of Panagia Peribleptos in Ohrid, Macedonia, highlights the main events described by the apocryphal stories on the death, the burial, the resurrection and the assumption of Mary, reinterpreted by the theologians and the hymns' writers. This mural painting integrates in a diachronic development the scenes of the Virgin's farewell to her friends, the coming of the apostles on clouds, the death, the funeral and the burial of Mary, including the episode on the attempt of desecration, the punishment and the conversion of a Jew named Jephonias, as well as the Virgin's assumption, a subject performed for the first time in art. This article tries to explain and to illustrate the iconographic elements contained in this mural painting, analyzing them from the perspective of three apocryphal texts on the Mary's death and assumption. Through such analysis we would highlight the direct and essential influence of certain Literature (apocryphal) in the creation of certain History, understood at the same time as History of Art (iconography) and History of Religions (dogmatic).","downloadable_attachments":[{"id":30612548,"asset_id":2583490,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3336690,"first_name":"José María","last_name":"SALVADOR-GONZALEZ","domain_name":"ucm","page_name":"josemariasalvadorgonzalez","display_name":"José María SALVADOR-GONZALEZ","profile_url":"https://ucm.academia.edu/josemariasalvadorgonzalez?f_ri=869","photo":"https://0.academia-photos.com/3336690/2716191/3162958/s65_jos_mar_a.salvador_gonzalez.jpg"}],"research_interests":[{"id":825,"name":"Medieval 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Bonnafoux","profile_url":"https://independentresearcher.academia.edu/PatriceBonnafoux?f_ri=869","photo":"https://0.academia-photos.com/302921/146469/170192/s65_patrice.bonnafoux.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=869","nofollow":true},{"id":27257,"name":"Maya Epigraphy","url":"https://www.academia.edu/Documents/in/Maya_Epigraphy?f_ri=869","nofollow":true},{"id":46478,"name":"Early Classic Maya","url":"https://www.academia.edu/Documents/in/Early_Classic_Maya?f_ri=869","nofollow":true},{"id":47599,"name":"Astronomy","url":"https://www.academia.edu/Documents/in/Astronomy?f_ri=869"},{"id":221849,"name":"Mesoamerican Studies","url":"https://www.academia.edu/Documents/in/Mesoamerican_Studies?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_3784970" data-work_id="3784970" 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/3784970/Narmer_Scorpion_and_the_Representation_of_the_Early_Egyptian_Court">Narmer, Scorpion, and the Representation of the Early Egyptian Court</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Numerous academic and popular articles have been published on the Narmer Palette, the Narmer Mace-head and the Scorpion Mace-head, arguably three of the most iconic early Egyptian monuments. It is generally recognized that these three... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3784970" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Numerous academic and popular articles have been published on the Narmer Palette, the Narmer Mace-head and the Scorpion Mace-head, arguably three of the most iconic early Egyptian monuments. It is generally recognized that these three objects are the climax of a centuries-old tradition of stone-working in the Nile valley and that most of the iconographic elements on these three objects can be traced back to earlier works of art such as the wall-painting in Tomb 100 at Hierakonpolis, Naqadan rock art, and older decorated palettes and mace-heads. As such, the Narmer Palette, the Narmer Mace-head and the Scorpion Mace-head combine various older iconographic elements that are for the first time organised in a single, more or less coherent narrative. The meaning of this narrative, however, eludes us: some scholars have argued that the reliefs on the palette and the mace-heads represent historical events, whereas others argue for a more symbolic interpretation. This article aims to further our understanding of these narratives by proposing new identifications of two figures shown prominently on both the Narmer mace-head and the Narmer palette; the so-called sandal-bearer and the wearer of the leopard skin.</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/3784970" 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="71d9b2f4e5c15111b9ecff8c1b017d5c" rel="nofollow" data-download="{"attachment_id":33857623,"asset_id":3784970,"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/33857623/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="140479" href="https://oxford.academia.edu/JorritKelder">Jorrit Kelder</a><script data-card-contents-for-user="140479" type="text/json">{"id":140479,"first_name":"Jorrit","last_name":"Kelder","domain_name":"oxford","page_name":"JorritKelder","display_name":"Jorrit Kelder","profile_url":"https://oxford.academia.edu/JorritKelder?f_ri=869","photo":"https://0.academia-photos.com/140479/37255/166343755/s65_jorrit.kelder.jpeg"}</script></span></span></li><li class="js-paper-rank-work_3784970 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3784970"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3784970, container: ".js-paper-rank-work_3784970", }); 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It is generally recognized that these three objects are the climax of a centuries-old tradition of stone-working in the Nile valley and that most of the iconographic elements on these three objects can be traced back to earlier works of art such as the wall-painting in Tomb 100 at Hierakonpolis, Naqadan rock art, and older decorated palettes and mace-heads. As such, the Narmer Palette, the Narmer Mace-head and the Scorpion Mace-head combine various older iconographic elements that are for the first time organised in a single, more or less coherent narrative. The meaning of this narrative, however, eludes us: some scholars have argued that the reliefs on the palette and the mace-heads represent historical events, whereas others argue for a more symbolic interpretation. This article aims to further our understanding of these narratives by proposing new identifications of two figures shown prominently on both the Narmer mace-head and the Narmer palette; the so-called sandal-bearer and the wearer of the leopard skin.","downloadable_attachments":[{"id":33857623,"asset_id":3784970,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":140479,"first_name":"Jorrit","last_name":"Kelder","domain_name":"oxford","page_name":"JorritKelder","display_name":"Jorrit Kelder","profile_url":"https://oxford.academia.edu/JorritKelder?f_ri=869","photo":"https://0.academia-photos.com/140479/37255/166343755/s65_jorrit.kelder.jpeg"}],"research_interests":[{"id":394,"name":"Egyptology","url":"https://www.academia.edu/Documents/in/Egyptology?f_ri=869","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":3793,"name":"Egyptian Archaeology","url":"https://www.academia.edu/Documents/in/Egyptian_Archaeology?f_ri=869","nofollow":true},{"id":29542,"name":"Predynastic and Early Dynastic Egypt","url":"https://www.academia.edu/Documents/in/Predynastic_and_Early_Dynastic_Egypt?f_ri=869","nofollow":true},{"id":34483,"name":"Ancient Egyptian Iconography","url":"https://www.academia.edu/Documents/in/Ancient_Egyptian_Iconography?f_ri=869"},{"id":510723,"name":"The Narmer Palette","url":"https://www.academia.edu/Documents/in/The_Narmer_Palette?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_26319739" data-work_id="26319739" 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/26319739/Creative_power_of_the_Flower_of_Life">Creative power of the Flower of Life</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 my second book that intends to discover the history of the Flower of Life symbol. Now my main focus is on the interpretation of the symbol and on meanings attached to it throughout the history, starting from the Near East Bronze... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26319739" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is my second book that intends to discover the history of the Flower of Life symbol. Now my main focus is on the interpretation of the symbol and on meanings attached to it throughout the history, starting from the Near East Bronze Age until our days.<br /><br />The reader is expected to be familiar with basics of the Flower of Life geometry. Elementary knowledge of the ancient Near East history and history of mathematics is helpful. Knowledge of visual arts, geometry, and comparative religion studies are also useful.<br /><br />I hope that my independent research provides valuable resources for people to further investigate the topic.</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/26319739" 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="03462e0fa0ac4c2e80fbcd30deaeb1db" rel="nofollow" data-download="{"attachment_id":47627903,"asset_id":26319739,"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/47627903/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="3972097" href="https://independent.academia.edu/MarkoManninen">Marko Manninen</a><script data-card-contents-for-user="3972097" type="text/json">{"id":3972097,"first_name":"Marko","last_name":"Manninen","domain_name":"independent","page_name":"MarkoManninen","display_name":"Marko Manninen","profile_url":"https://independent.academia.edu/MarkoManninen?f_ri=869","photo":"https://gravatar.com/avatar/3f06106f04bf2c5bc8d096dbd7a13e41?s=65"}</script></span></span></li><li class="js-paper-rank-work_26319739 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26319739"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26319739, container: ".js-paper-rank-work_26319739", }); 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Now my main focus is on the interpretation of the symbol and on meanings attached to it throughout the history, starting from the Near East Bronze Age until our days.\n\nThe reader is expected to be familiar with basics of the Flower of Life geometry. Elementary knowledge of the ancient Near East history and history of mathematics is helpful. Knowledge of visual arts, geometry, and comparative religion studies are also useful.\n\nI hope that my independent research provides valuable resources for people to further investigate the topic.","downloadable_attachments":[{"id":47627903,"asset_id":26319739,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3972097,"first_name":"Marko","last_name":"Manninen","domain_name":"independent","page_name":"MarkoManninen","display_name":"Marko Manninen","profile_url":"https://independent.academia.edu/MarkoManninen?f_ri=869","photo":"https://gravatar.com/avatar/3f06106f04bf2c5bc8d096dbd7a13e41?s=65"}],"research_interests":[{"id":118,"name":"Ancient Egyptian Religion","url":"https://www.academia.edu/Documents/in/Ancient_Egyptian_Religion?f_ri=869","nofollow":true},{"id":123,"name":"Mythology And Folklore","url":"https://www.academia.edu/Documents/in/Mythology_And_Folklore?f_ri=869","nofollow":true},{"id":188,"name":"Cultural 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Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?f_ri=869"},{"id":1000785,"name":"Harappan Civilization","url":"https://www.academia.edu/Documents/in/Harappan_Civilization?f_ri=869"},{"id":2446402,"name":"Equilateral triangle","url":"https://www.academia.edu/Documents/in/Equilateral_triangle?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_5543876" data-work_id="5543876" 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/5543876/_%D0%9C%D0%B5%D1%87%D1%82%D0%B0%D0%BD%D0%B8%D1%8F_%D0%B8_illusions_%D0%94%D1%8C%D1%8F%D0%B2%D0%BE%D0%BB%D1%8C%D1%81%D0%BA%D0%B8%D0%B5_%D0%BD%D0%B0%D0%B2%D0%B0%D0%B6%D0%B4%D0%B5%D0%BD%D0%B8%D1%8F_%D0%BC%D0%B5%D0%B6%D0%B4%D1%83_%D0%BA%D0%BD%D0%B8%D0%B6%D0%BD%D0%BE%D1%81%D1%82%D1%8C%D1%8E_%D0%B8_%D0%B8%D0%BA%D0%BE%D0%BD%D0%BE%D0%B3%D1%80%D0%B0%D1%84%D0%B8%D0%B5%D0%B9_%D0%A7%D0%B0%D1%81%D1%82%D1%8C_1_%D0%A0%D0%BE%D1%81%D1%81%D0%B8%D1%8F_XXI_4_%D0%9C_2012_%D0%92_%D1%81%D0%BE%D0%B0%D0%B2%D1%82%D0%BE%D1%80%D1%81%D1%82%D0%B2%D0%B5_%D1%81_%D0%9C_%D0%A0_%D0%9C%D0%B0%D0%B9%D0%B7%D1%83%D0%BB%D1%8C%D1%81%D0%BE%D0%BC_%D0%A1_112_137">«Мечтания» и «illusions»: Дьявольские наваждения между книжностью и иконографией. Часть 1 // Россия XXI. № 4. М., 2012. (В соавторстве с М.Р. Майзульсом). С. 112–137.</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 medieval Devil is not only the father of lies but also the father of illusions and expert in transformations assuming multiple masks (from insects and wild beasts to humans and angels) lengthy described in the Byzantine and Old... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5543876" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The medieval Devil is not only the father of lies but also the father of illusions and expert in transformations assuming multiple masks (from insects and wild beasts to humans and angels) lengthy described in the Byzantine and Old Russian hagiography. The article explores the role of the illusionist transformations in the Old Russian demonological imagery and compares their functions in Eastern Orthodox and Western Catholic contexts. It focuses also on the methods the medieval artists used to visualise the illusions described in the lives of saints and explores the inevitable gap between the textual and visual narrative strategies.</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/5543876" 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="0d0544efe28c538b4b3897302636f60f" rel="nofollow" data-download="{"attachment_id":32640162,"asset_id":5543876,"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/32640162/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="6220789" href="https://rggu.academia.edu/DmitryAntonov">Dmitry Antonov</a><script data-card-contents-for-user="6220789" type="text/json">{"id":6220789,"first_name":"Dmitry","last_name":"Antonov","domain_name":"rggu","page_name":"DmitryAntonov","display_name":"Dmitry Antonov","profile_url":"https://rggu.academia.edu/DmitryAntonov?f_ri=869","photo":"https://0.academia-photos.com/6220789/2777475/5495181/s65_dmitry.antonov.jpg"}</script></span></span></li><li class="js-paper-rank-work_5543876 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5543876"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5543876, container: ".js-paper-rank-work_5543876", }); 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$(".js-view-count[data-work-id=5543876]").text(description); $(".js-view-count-work_5543876").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5543876").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="5543876"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">61</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="98" rel="nofollow" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="106" rel="nofollow" href="https://www.academia.edu/Documents/in/Religion">Religion</a>, <script data-card-contents-for-ri="106" type="text/json">{"id":106,"name":"Religion","url":"https://www.academia.edu/Documents/in/Religion?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="109" rel="nofollow" href="https://www.academia.edu/Documents/in/Christianity">Christianity</a>, <script data-card-contents-for-ri="109" type="text/json">{"id":109,"name":"Christianity","url":"https://www.academia.edu/Documents/in/Christianity?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="123" rel="nofollow" href="https://www.academia.edu/Documents/in/Mythology_And_Folklore">Mythology And Folklore</a><script data-card-contents-for-ri="123" type="text/json">{"id":123,"name":"Mythology And Folklore","url":"https://www.academia.edu/Documents/in/Mythology_And_Folklore?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5543876]'), work: {"id":5543876,"title":"«Мечтания» и «illusions»: Дьявольские наваждения между книжностью и иконографией. 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History","url":"https://www.academia.edu/Documents/in/Art_and_Art_History?f_ri=869"},{"id":545362,"name":"Miniatura medievale","url":"https://www.academia.edu/Documents/in/Miniatura_medievale?f_ri=869"},{"id":955827,"name":"Hagiography (Greek","url":"https://www.academia.edu/Documents/in/Hagiography_Greek?f_ri=869"},{"id":1034292,"name":"Hagiographie Médiévale","url":"https://www.academia.edu/Documents/in/Hagiographie_Medievale?f_ri=869"},{"id":1034296,"name":"Medieval Hagiography","url":"https://www.academia.edu/Documents/in/Medieval_Hagiography?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_44754499" data-work_id="44754499" 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/44754499/Le_Sette_Parole_di_Cristo_in_croce_nel_ciclo_di_San_Marco_del_Beato_Angelico">Le Sette Parole di Cristo in croce nel ciclo di San Marco del Beato Angelico</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 theme of the Seven Last Words of Christ on the cross, reported in the canonical Gospels, has been resonating deeply in the theological and devotional literature since the early Middle Ages until today, and in sacred music from the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44754499" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The theme of the Seven Last Words of Christ on the cross, reported in the canonical Gospels, has been resonating deeply in the theological and devotional literature since the early Middle Ages until today, and in sacred music from the seventeenth century onwards. Surprisingly, the motif occurs very rarely in the visual arts (theatre and cinema are only incidentally taken into account here). Fra Angelico illustrated the Seven Last Words in the fresco cycle of the convent of San Marco, Florence, in seven cells along the northern corridor, as the iconographic features and the surviving inscriptions attest. Indeed, the subject of the Crucifixion was intentionally reiterated throughout the cycle, in accord with the Observant Dominicans’ focus on Christ’s Passion as a model of meditation and emulation for the friars. Despite the universal fame of Fra Angelico’s frescoes, the particular iconography of the Seven Last Words has gone almost completely unnoticed. This essay offers a better understanding and contextualization of the Seven Last Words within the celebrated cycle, and offers new clues to assert the role of Fra Antonino Pierozzi, who was the prior of San Marco in the years of Fra Angelico’s activity there, as iconographic advisor.</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/44754499" 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="94e6a00d9a7ad7508ce815a368ea46ca" rel="nofollow" data-download="{"attachment_id":65242740,"asset_id":44754499,"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/65242740/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="5436529" href="https://firenze.academia.edu/GerardodeSimone">Gerardo de Simone</a><script data-card-contents-for-user="5436529" type="text/json">{"id":5436529,"first_name":"Gerardo","last_name":"de Simone","domain_name":"firenze","page_name":"GerardodeSimone","display_name":"Gerardo de Simone","profile_url":"https://firenze.academia.edu/GerardodeSimone?f_ri=869","photo":"https://0.academia-photos.com/5436529/2840968/135620967/s65_gerardo.de_simone.png"}</script></span></span></li><li class="js-paper-rank-work_44754499 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44754499"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44754499, container: ".js-paper-rank-work_44754499", }); 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Surprisingly, the motif occurs very rarely in the visual arts (theatre and cinema are only incidentally taken into account here). Fra Angelico illustrated the Seven Last Words in the fresco cycle of the convent of San Marco, Florence, in seven cells along the northern corridor, as the iconographic features and the surviving inscriptions attest. Indeed, the subject of the Crucifixion was intentionally reiterated throughout the cycle, in accord with the Observant Dominicans’ focus on Christ’s Passion as a model of meditation and emulation for the friars. Despite the universal fame of Fra Angelico’s frescoes, the particular iconography of the Seven Last Words has gone almost completely unnoticed. This essay offers a better understanding and contextualization of the Seven Last Words within the celebrated cycle, and offers new clues to assert the role of Fra Antonino Pierozzi, who was the prior of San Marco in the years of Fra Angelico’s activity there, as iconographic advisor.","downloadable_attachments":[{"id":65242740,"asset_id":44754499,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5436529,"first_name":"Gerardo","last_name":"de Simone","domain_name":"firenze","page_name":"GerardodeSimone","display_name":"Gerardo de Simone","profile_url":"https://firenze.academia.edu/GerardodeSimone?f_ri=869","photo":"https://0.academia-photos.com/5436529/2840968/135620967/s65_gerardo.de_simone.png"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?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":91131,"name":"Fra Angelico","url":"https://www.academia.edu/Documents/in/Fra_Angelico?f_ri=869","nofollow":true},{"id":209420,"name":"Beato Angelico","url":"https://www.academia.edu/Documents/in/Beato_Angelico?f_ri=869"},{"id":248112,"name":"Christianity and the Arts","url":"https://www.academia.edu/Documents/in/Christianity_and_the_Arts?f_ri=869"},{"id":667642,"name":"History of the Order of Preachers (Dominicans)","url":"https://www.academia.edu/Documents/in/History_of_the_Order_of_Preachers_Dominicans_?f_ri=869"},{"id":1160225,"name":"Antonino Pierozzi","url":"https://www.academia.edu/Documents/in/Antonino_Pierozzi?f_ri=869"},{"id":1875904,"name":"James Tissot","url":"https://www.academia.edu/Documents/in/James_Tissot?f_ri=869"},{"id":2596593,"name":"Master of the Beffi Triptych","url":"https://www.academia.edu/Documents/in/Master_of_the_Beffi_Triptych?f_ri=869"},{"id":2617291,"name":"Maestro di Beffi","url":"https://www.academia.edu/Documents/in/Maestro_di_Beffi?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_39264419" data-work_id="39264419" 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/39264419/De_Roma_a_los_Pirineos_G%C3%A9nesis_evoluci%C3%B3n_y_lectura_del_crism%C3%B3n">De Roma a los Pirineos. Génesis, evolución y lectura del crismón</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Si hay un motivo iconográfico que caracteriza a la escultura románica en la provincia de Huesca, y en general en Aragón, ese es el crismón. Multitud de templos ornan sus portadas con este monograma, que no es otra cosa que un nomem sacrum... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39264419" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Si hay un motivo iconográfico que caracteriza a la escultura románica en la provincia de Huesca, y en general en Aragón, ese es el crismón. Multitud de templos ornan sus portadas con este monograma, que no es otra cosa que un nomem sacrum (abreviatura del nombre sagrado) de Cristo, al que se añaden diferentes elementos que modifican o complementan su significado 1 . Con más de ciento cincuenta ejemplares, Huesca es el territorio donde se da, durante el románico, una mayor concentración de la representación pétrea de este emblema. Es por ello que los volúmenes de la Enciclopedia dedicados al románico de esta provincia son el mejor lugar para incluir un estudio de las características del que iniciamos. Al objeto de poder aprehender mejor las circunstancias históricas, religiosas y artísticas que están detrás de la gran concentración de crismones en Huesca, hemos considerado conveniente trascender los límites geográficos y cronológicos de esta obra para plantear un enfoque tal que nos permita remontarnos a los orígenes del crismón, así como hacer referencia a las características de ciertas piezas no ubicadas en territorio aragonés. En cualquier caso, serán los crismones más destacados del ámbito oscense en los que centraremos nuestra atención y analizaremos con mayor profundidad.</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/39264419" 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="6a49879e2beb017bdc758f1d0b61f2e4" rel="nofollow" data-download="{"attachment_id":59398732,"asset_id":39264419,"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/59398732/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="534096" href="https://ub.academia.edu/JuanAntonioOla%C3%B1eta">Juan Antonio Olañeta</a><script data-card-contents-for-user="534096" type="text/json">{"id":534096,"first_name":"Juan Antonio","last_name":"Olañeta","domain_name":"ub","page_name":"JuanAntonioOlañeta","display_name":"Juan Antonio Olañeta","profile_url":"https://ub.academia.edu/JuanAntonioOla%C3%B1eta?f_ri=869","photo":"https://0.academia-photos.com/534096/190569/31507323/s65_juan_antonio.ola_eta.jpg"}</script></span></span></li><li class="js-paper-rank-work_39264419 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39264419"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39264419, container: ".js-paper-rank-work_39264419", }); 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$(".js-view-count[data-work-id=39264419]").text(description); $(".js-view-count-work_39264419").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39264419").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="39264419"><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="5326" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Christianity">Early Christianity</a>, <script data-card-contents-for-ri="5326" type="text/json">{"id":5326,"name":"Early Christianity","url":"https://www.academia.edu/Documents/in/Early_Christianity?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17045" rel="nofollow" href="https://www.academia.edu/Documents/in/Romanesque_Art">Romanesque Art</a>, <script data-card-contents-for-ri="17045" type="text/json">{"id":17045,"name":"Romanesque Art","url":"https://www.academia.edu/Documents/in/Romanesque_Art?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=39264419]'), work: {"id":39264419,"title":"De Roma a los Pirineos. Génesis, evolución y lectura del crismón","created_at":"2019-05-26T07:59:19.270-07:00","url":"https://www.academia.edu/39264419/De_Roma_a_los_Pirineos_G%C3%A9nesis_evoluci%C3%B3n_y_lectura_del_crism%C3%B3n?f_ri=869","dom_id":"work_39264419","summary":"Si hay un motivo iconográfico que caracteriza a la escultura románica en la provincia de Huesca, y en general en Aragón, ese es el crismón. Multitud de templos ornan sus portadas con este monograma, que no es otra cosa que un nomem sacrum (abreviatura del nombre sagrado) de Cristo, al que se añaden diferentes elementos que modifican o complementan su significado 1 . Con más de ciento cincuenta ejemplares, Huesca es el territorio donde se da, durante el románico, una mayor concentración de la representación pétrea de este emblema. Es por ello que los volúmenes de la Enciclopedia dedicados al románico de esta provincia son el mejor lugar para incluir un estudio de las características del que iniciamos. Al objeto de poder aprehender mejor las circunstancias históricas, religiosas y artísticas que están detrás de la gran concentración de crismones en Huesca, hemos considerado conveniente trascender los límites geográficos y cronológicos de esta obra para plantear un enfoque tal que nos permita remontarnos a los orígenes del crismón, así como hacer referencia a las características de ciertas piezas no ubicadas en territorio aragonés. En cualquier caso, serán los crismones más destacados del ámbito oscense en los que centraremos nuestra atención y analizaremos con mayor profundidad.","downloadable_attachments":[{"id":59398732,"asset_id":39264419,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":534096,"first_name":"Juan Antonio","last_name":"Olañeta","domain_name":"ub","page_name":"JuanAntonioOlañeta","display_name":"Juan Antonio Olañeta","profile_url":"https://ub.academia.edu/JuanAntonioOla%C3%B1eta?f_ri=869","photo":"https://0.academia-photos.com/534096/190569/31507323/s65_juan_antonio.ola_eta.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":5326,"name":"Early Christianity","url":"https://www.academia.edu/Documents/in/Early_Christianity?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":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869","nofollow":true},{"id":27840,"name":"Medieval Crown of Aragon","url":"https://www.academia.edu/Documents/in/Medieval_Crown_of_Aragon?f_ri=869"},{"id":82415,"name":"Romanesque Sculpture","url":"https://www.academia.edu/Documents/in/Romanesque_Sculpture?f_ri=869"},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869"},{"id":123653,"name":"Monograms","url":"https://www.academia.edu/Documents/in/Monograms?f_ri=869"},{"id":126144,"name":"Iconografía","url":"https://www.academia.edu/Documents/in/Iconograf%C3%ADa?f_ri=869"},{"id":215977,"name":"SIMBOLISMO","url":"https://www.academia.edu/Documents/in/SIMBOLISMO?f_ri=869"},{"id":267727,"name":"Christian Studies","url":"https://www.academia.edu/Documents/in/Christian_Studies?f_ri=869"},{"id":291448,"name":"Romanesque pictorial arts","url":"https://www.academia.edu/Documents/in/Romanesque_pictorial_arts?f_ri=869"},{"id":479566,"name":"Simbologia","url":"https://www.academia.edu/Documents/in/Simbologia?f_ri=869"},{"id":491230,"name":"Romanesque and pre-Romanesque sculpture","url":"https://www.academia.edu/Documents/in/Romanesque_and_pre-Romanesque_sculpture?f_ri=869"},{"id":513558,"name":"Romanico","url":"https://www.academia.edu/Documents/in/Romanico?f_ri=869"},{"id":514288,"name":"Escultura Medieval","url":"https://www.academia.edu/Documents/in/Escultura_Medieval?f_ri=869"},{"id":609524,"name":"Arte románico","url":"https://www.academia.edu/Documents/in/Arte_romanico?f_ri=869"},{"id":615989,"name":"Medieval Kingdom of Aragon","url":"https://www.academia.edu/Documents/in/Medieval_Kingdom_of_Aragon?f_ri=869"},{"id":957224,"name":"Románico","url":"https://www.academia.edu/Documents/in/Rom%C3%A1nico?f_ri=869"},{"id":965214,"name":"Simbología Religiosa","url":"https://www.academia.edu/Documents/in/Simbologia_Religiosa?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_34052391" data-work_id="34052391" 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/34052391/Ovidio_e_il_pantheon_augusteo_Apollo_nelle_Metamorfosi">Ovidio e il pantheon augusteo: Apollo nelle Metamorfosi</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 contribution is devoted to the analysis of those episodes of the Metamorphoses that have Apollo as main character. These episodes can be divided into two groups: those describing Apollo in love with nymphs or maidens (Daphne; Coronis;... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34052391" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The contribution is devoted to the analysis of those episodes of the Metamorphoses that have Apollo as main character. These episodes can be divided into two groups: those describing Apollo in love with nymphs or maidens (Daphne; Coronis; Sybil) or young men (Cyparissus and Narcissus), and those telling about his role as avenger (against Niobe, against Marsyas, against Midas). The emerging picture clearly shows that Ovid provides an image of the god that is far removed from the representation offered by the Augustan propaganda.</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/34052391" 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="2bd182528ee13e6043312493ce4cbf7e" rel="nofollow" data-download="{"attachment_id":53990128,"asset_id":34052391,"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/53990128/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="66703911" href="https://unipd.academia.edu/FrancescaGhedini">Francesca Ghedini</a><script data-card-contents-for-user="66703911" type="text/json">{"id":66703911,"first_name":"Francesca","last_name":"Ghedini","domain_name":"unipd","page_name":"FrancescaGhedini","display_name":"Francesca Ghedini","profile_url":"https://unipd.academia.edu/FrancescaGhedini?f_ri=869","photo":"https://0.academia-photos.com/66703911/17366196/17464620/s65_francesca.ghedini.jpg"}</script></span></span></li><li class="js-paper-rank-work_34052391 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34052391"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34052391, container: ".js-paper-rank-work_34052391", }); 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$(".js-view-count[data-work-id=34052391]").text(description); $(".js-view-count-work_34052391").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34052391").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="34052391"><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="12797" rel="nofollow" href="https://www.academia.edu/Documents/in/Classical_Art">Classical Art</a>, <script data-card-contents-for-ri="12797" type="text/json">{"id":12797,"name":"Classical Art","url":"https://www.academia.edu/Documents/in/Classical_Art?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="31870" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconology">Iconology</a>, <script data-card-contents-for-ri="31870" type="text/json">{"id":31870,"name":"Iconology","url":"https://www.academia.edu/Documents/in/Iconology?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="33438" rel="nofollow" href="https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Art">Ancient Greek and Roman Art</a><script data-card-contents-for-ri="33438" type="text/json">{"id":33438,"name":"Ancient Greek and Roman Art","url":"https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Art?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34052391]'), work: {"id":34052391,"title":"Ovidio e il pantheon augusteo: Apollo nelle Metamorfosi","created_at":"2017-07-27T05:04:00.925-07:00","url":"https://www.academia.edu/34052391/Ovidio_e_il_pantheon_augusteo_Apollo_nelle_Metamorfosi?f_ri=869","dom_id":"work_34052391","summary":"The contribution is devoted to the analysis of those episodes of the Metamorphoses that have Apollo as main character. These episodes can be divided into two groups: those describing Apollo in love with nymphs or maidens (Daphne; Coronis; Sybil) or young men (Cyparissus and Narcissus), and those telling about his role as avenger (against Niobe, against Marsyas, against Midas). The emerging picture clearly shows that Ovid provides an image of the god that is far removed from the representation offered by the Augustan propaganda.","downloadable_attachments":[{"id":53990128,"asset_id":34052391,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":66703911,"first_name":"Francesca","last_name":"Ghedini","domain_name":"unipd","page_name":"FrancescaGhedini","display_name":"Francesca Ghedini","profile_url":"https://unipd.academia.edu/FrancescaGhedini?f_ri=869","photo":"https://0.academia-photos.com/66703911/17366196/17464620/s65_francesca.ghedini.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":12797,"name":"Classical Art","url":"https://www.academia.edu/Documents/in/Classical_Art?f_ri=869","nofollow":true},{"id":31870,"name":"Iconology","url":"https://www.academia.edu/Documents/in/Iconology?f_ri=869","nofollow":true},{"id":33438,"name":"Ancient Greek and Roman Art","url":"https://www.academia.edu/Documents/in/Ancient_Greek_and_Roman_Art?f_ri=869","nofollow":true},{"id":91865,"name":"Iconography and Iconology","url":"https://www.academia.edu/Documents/in/Iconography_and_Iconology?f_ri=869"},{"id":100024,"name":"Classical Literature","url":"https://www.academia.edu/Documents/in/Classical_Literature?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_33110679" data-work_id="33110679" 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/33110679/The_Medieval_Game_of_the_Goose_Philosophy_Numerology_and_Symbolism">The Medieval Game of the Goose: Philosophy, Numerology and Symbolism</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Simple race games, played with dice and without choice of move, are known from antiquity. In the late sixteenth century, specific examples of this class of game emerged from Italy and, assisted by the medium of printing, spread rapidly... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33110679" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Simple race games, played with dice and without choice of move,<br />are known from antiquity. In the late sixteenth century, specific examples<br />of this class of game emerged from Italy and, assisted by the<br />medium of printing, spread rapidly into other countries of Europe. Pre-eminent among these was the Game of the Goose, which was to spawn<br />thousands of variants over the succeeding centuries to the present day,<br />including educational, polemical and promotional versions mirroring<br />many aspects of human life.<br /><br />The paper deals with the early history of these games, concentrating on their philosophical background, numerology and symbolism.</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/33110679" 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="93c9a0c06cf7fcf747f66798db0939eb" rel="nofollow" data-download="{"attachment_id":53206458,"asset_id":33110679,"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/53206458/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="57842026" href="https://city.academia.edu/AdrianSeville">Adrian Seville</a><script data-card-contents-for-user="57842026" type="text/json">{"id":57842026,"first_name":"Adrian","last_name":"Seville","domain_name":"city","page_name":"AdrianSeville","display_name":"Adrian Seville","profile_url":"https://city.academia.edu/AdrianSeville?f_ri=869","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_33110679 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33110679"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33110679, container: ".js-paper-rank-work_33110679", }); 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$(".js-view-count[data-work-id=33110679]").text(description); $(".js-view-count-work_33110679").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33110679").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="33110679"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</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="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="2858" rel="nofollow" href="https://www.academia.edu/Documents/in/Popular_Culture">Popular Culture</a><script data-card-contents-for-ri="2858" type="text/json">{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33110679]'), work: {"id":33110679,"title":"The Medieval Game of the Goose: Philosophy, Numerology and Symbolism","created_at":"2017-05-20T03:23:58.809-07:00","url":"https://www.academia.edu/33110679/The_Medieval_Game_of_the_Goose_Philosophy_Numerology_and_Symbolism?f_ri=869","dom_id":"work_33110679","summary":"Simple race games, played with dice and without choice of move,\nare known from antiquity. In the late sixteenth century, specific examples\nof this class of game emerged from Italy and, assisted by the\nmedium of printing, spread rapidly into other countries of Europe. Pre-eminent among these was the Game of the Goose, which was to spawn\nthousands of variants over the succeeding centuries to the present day,\nincluding educational, polemical and promotional versions mirroring\nmany aspects of human life.\n\nThe paper deals with the early history of these games, concentrating on their philosophical background, numerology and symbolism.","downloadable_attachments":[{"id":53206458,"asset_id":33110679,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":57842026,"first_name":"Adrian","last_name":"Seville","domain_name":"city","page_name":"AdrianSeville","display_name":"Adrian Seville","profile_url":"https://city.academia.edu/AdrianSeville?f_ri=869","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=869","nofollow":true},{"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":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=869","nofollow":true},{"id":48164,"name":"Board Games","url":"https://www.academia.edu/Documents/in/Board_Games?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_3294340 coauthored" data-work_id="3294340" 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/3294340/Orchids_in_the_Roman_culture_and_iconography_Evidence_for_the_first_representations_in_antiquity">Orchids in the Roman culture and iconography: Evidence for the first representations in antiquity</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Orchids have fascinated humans since ancient times. Not only the particular morphology of their flowers and hypogean organs, but also their reproductive biology have inspired myths, legends and popular traditions in many cultures, all... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3294340" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Orchids have fascinated humans since ancient times. Not only the particular morphology of their flowers and hypogean organs, but also their reproductive biology have inspired myths, legends and popular traditions in many cultures, all around the world. Despite these facts, their representations on ancient artefacts have never been described in the scientific literature. No clear data exist for Eastern culture, and in Western countries, the first certain representations of orchids in art date back to the XV-XVI century CE. This paper documents different identifications of orchids on Roman monuments changing the common belief that these plants first appeared in art more recently. Floral elements of Cephalanthera spp., Spiranthes spiralis (L.) Chevall, of Orchis tridentata Scop., and of other orchids were observed in different architectonical elements (cornices and ceilings) throughout the Roman period, and in the external frieze of the Ara Pacis monument (I century CE). These representations seem to refer to a symbolism of fertility and sexuality, and their absence in medieval time can be explained only considering religion influences.</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/3294340" 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="3806318d6e978f3b4b991ce9fca2d55c" rel="nofollow" data-download="{"attachment_id":47614002,"asset_id":3294340,"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/47614002/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="50256143" href="https://independent.academia.edu/AlmaKumbaric">Alma Kumbaric</a><script data-card-contents-for-user="50256143" type="text/json">{"id":50256143,"first_name":"Alma","last_name":"Kumbaric","domain_name":"independent","page_name":"AlmaKumbaric","display_name":"Alma Kumbaric","profile_url":"https://independent.academia.edu/AlmaKumbaric?f_ri=869","photo":"/images/s65_no_pic.png"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-3294340">+1</span><div class="hidden js-additional-users-3294340"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://romatre.academia.edu/ValentinaSavo">Valentina Savo</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-3294340'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-3294340').html(); 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Not only the particular morphology of their flowers and hypogean organs, but also their reproductive biology have inspired myths, legends and popular traditions in many cultures, all around the world. Despite these facts, their representations on ancient artefacts have never been described in the scientific literature. No clear data exist for Eastern culture, and in Western countries, the first certain representations of orchids in art date back to the XV-XVI century CE. This paper documents different identifications of orchids on Roman monuments changing the common belief that these plants first appeared in art more recently. Floral elements of Cephalanthera spp., Spiranthes spiralis (L.) Chevall, of Orchis tridentata Scop., and of other orchids were observed in different architectonical elements (cornices and ceilings) throughout the Roman period, and in the external frieze of the Ara Pacis monument (I century CE). These representations seem to refer to a symbolism of fertility and sexuality, and their absence in medieval time can be explained only considering religion influences.","downloadable_attachments":[{"id":47614002,"asset_id":3294340,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50256143,"first_name":"Alma","last_name":"Kumbaric","domain_name":"independent","page_name":"AlmaKumbaric","display_name":"Alma Kumbaric","profile_url":"https://independent.academia.edu/AlmaKumbaric?f_ri=869","photo":"/images/s65_no_pic.png"},{"id":3807001,"first_name":"Valentina","last_name":"Savo","domain_name":"romatre","page_name":"ValentinaSavo","display_name":"Valentina Savo","profile_url":"https://romatre.academia.edu/ValentinaSavo?f_ri=869","photo":"https://0.academia-photos.com/3807001/1383580/1703617/s65_valentina.savo.jpg"}],"research_interests":[{"id":148,"name":"Botany","url":"https://www.academia.edu/Documents/in/Botany?f_ri=869","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":59949,"name":"Orchids","url":"https://www.academia.edu/Documents/in/Orchids?f_ri=869","nofollow":true},{"id":634974,"name":"Roman Archaeology","url":"https://www.academia.edu/Documents/in/Roman_Archaeology?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_37041257" data-work_id="37041257" 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/37041257/Le_pitture_della_chiesa_altomedievale_di_Casale_Mosillo_presso_Fondi_LT_">Le pitture della chiesa altomedievale di Casale Mosillo presso Fondi (LT)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Presso il sito di "Casale Mosillo" 2 , sulla sommità di un modesto rilievo 350 metri a ovest del monastero di S. Magno 3 , nel territorio di Fondi 4 , un intervento di scavo condotto agli inizi del Novecento da S. Aurigemma 5 ha... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37041257" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Presso il sito di "Casale Mosillo" 2 , sulla sommità di un modesto rilievo 350 metri a ovest del monastero di S. Magno 3 , nel territorio di Fondi 4 , un intervento di scavo condotto agli inizi del Novecento da S. Aurigemma 5 ha consentito l'individuazione di una piccola chiesa rurale, i cui resti, tra il 2008 e il 2009, sono stati oggetto di indagini archeologiche da parte di un'équipe coordinata da V. Fiocchi Nicolai, in collaborazione con N. Cassieri della Soprintendenza per i Beni archeologici del Lazio e con l'Università di Roma Tor Vergata 6 . Le strutture superstiti facevano parte di un complesso di edifici, tra i quali si evidenzia una probabile torre 7 . L'edificio di culto ( , a navata unica con abside 1 Il presente lavoro è frutto della rielaborazione della mia tesi di laurea magistrale in Archeologia Cristiana, Le pitture della chiesa altomedievale di Casale Mosillo presso Fondi (LT), discussa il giorno 20 maggio 2016 presso l'Università degli Studi di Roma Tor Vergata. Con l'occasione, desidero ringraziare il prof. Vincenzo Fiocchi Nicolai e la prof.ssa Giulia Bordi, per il tempo dedicatomi nel seguire questo lavoro e per il materiale inedito fornitomi; un ringraziamento è anche rivolto al Rettore del Pontificio Istituto di Archeologia Cristiana, prof. Danilo Mazzoleni, per aver agevolato le operazioni di catalogazione all'interno del P.I.A.C., e alla dott.ssa Daniela Quadrino e al dott. Alessandro Vella, per i preziosi suggerimenti.</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/37041257" 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="47411a99836d15d5a7e7afd5925f3fcf" rel="nofollow" data-download="{"attachment_id":56991745,"asset_id":37041257,"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/56991745/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="43858935" href="https://na.academia.edu/FedericaTagliatesta">Federica Tagliatesta</a><script data-card-contents-for-user="43858935" type="text/json">{"id":43858935,"first_name":"Federica","last_name":"Tagliatesta","domain_name":"na","page_name":"FedericaTagliatesta","display_name":"Federica Tagliatesta","profile_url":"https://na.academia.edu/FedericaTagliatesta?f_ri=869","photo":"https://0.academia-photos.com/43858935/17611555/148392377/s65_federica.tagliatesta.jpeg"}</script></span></span></li><li class="js-paper-rank-work_37041257 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37041257"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37041257, container: ".js-paper-rank-work_37041257", }); 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Magno 3 , nel territorio di Fondi 4 , un intervento di scavo condotto agli inizi del Novecento da S. Aurigemma 5 ha consentito l'individuazione di una piccola chiesa rurale, i cui resti, tra il 2008 e il 2009, sono stati oggetto di indagini archeologiche da parte di un'équipe coordinata da V. Fiocchi Nicolai, in collaborazione con N. Cassieri della Soprintendenza per i Beni archeologici del Lazio e con l'Università di Roma Tor Vergata 6 . Le strutture superstiti facevano parte di un complesso di edifici, tra i quali si evidenzia una probabile torre 7 . L'edificio di culto ( , a navata unica con abside 1 Il presente lavoro è frutto della rielaborazione della mia tesi di laurea magistrale in Archeologia Cristiana, Le pitture della chiesa altomedievale di Casale Mosillo presso Fondi (LT), discussa il giorno 20 maggio 2016 presso l'Università degli Studi di Roma Tor Vergata. Con l'occasione, desidero ringraziare il prof. Vincenzo Fiocchi Nicolai e la prof.ssa Giulia Bordi, per il tempo dedicatomi nel seguire questo lavoro e per il materiale inedito fornitomi; un ringraziamento è anche rivolto al Rettore del Pontificio Istituto di Archeologia Cristiana, prof. Danilo Mazzoleni, per aver agevolato le operazioni di catalogazione all'interno del P.I.A.C., e alla dott.ssa Daniela Quadrino e al dott. Alessandro Vella, per i preziosi suggerimenti.","downloadable_attachments":[{"id":56991745,"asset_id":37041257,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":43858935,"first_name":"Federica","last_name":"Tagliatesta","domain_name":"na","page_name":"FedericaTagliatesta","display_name":"Federica Tagliatesta","profile_url":"https://na.academia.edu/FedericaTagliatesta?f_ri=869","photo":"https://0.academia-photos.com/43858935/17611555/148392377/s65_federica.tagliatesta.jpeg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?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":70805,"name":"Early Christian Archaeology","url":"https://www.academia.edu/Documents/in/Early_Christian_Archaeology?f_ri=869","nofollow":true},{"id":127577,"name":"Benedictine Monasticism","url":"https://www.academia.edu/Documents/in/Benedictine_Monasticism?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_31384073" data-work_id="31384073" 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/31384073/storia_immagini_pdf">storia immagini.pdf</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/31384073" 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="4732b5fd581af5f5dae54e2e470a6e72" rel="nofollow" data-download="{"attachment_id":51759188,"asset_id":31384073,"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/51759188/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="8559577" href="https://ecampus.academia.edu/CeciliaVicentini">Cecilia Vicentini</a><script data-card-contents-for-user="8559577" type="text/json">{"id":8559577,"first_name":"Cecilia","last_name":"Vicentini","domain_name":"ecampus","page_name":"CeciliaVicentini","display_name":"Cecilia Vicentini","profile_url":"https://ecampus.academia.edu/CeciliaVicentini?f_ri=869","photo":"https://0.academia-photos.com/8559577/3690373/8286745/s65_cecilia.vicentini.jpg"}</script></span></span></li><li class="js-paper-rank-work_31384073 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31384073"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31384073, container: ".js-paper-rank-work_31384073", }); 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Se analiza la tradición cultural –en sentido diacrónico– desde las primeras representaciones miniadas de los Apocalipsis, con especial detenimiento en los ciclos de manuscritos sobre el Apocalipsis proliferaron desde el siglo XIII al XV. La continuidad de esta imagen tiene lugar especialmente en el mundo flamenco. En cuanto al barco, se analiza un recorrido de la tradición de éste como símbolo evangélico de la esperanza cercana en la salvación, poniéndolo en relación con la emblemática.</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/16059082" 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="6b34b12e7b2f26f8865f0958095a4c0d" rel="nofollow" data-download="{"attachment_id":38859840,"asset_id":16059082,"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/38859840/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="2685181" href="https://uv.academia.edu/SergiDomenech">Sergi Doménech García</a><script data-card-contents-for-user="2685181" type="text/json">{"id":2685181,"first_name":"Sergi","last_name":"Doménech García","domain_name":"uv","page_name":"SergiDomenech","display_name":"Sergi Doménech García","profile_url":"https://uv.academia.edu/SergiDomenech?f_ri=869","photo":"https://0.academia-photos.com/2685181/994969/14971116/s65_sergi.dom_nech_garc_a.jpg"}</script></span></span></li><li class="js-paper-rank-work_16059082 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="16059082"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 16059082, container: ".js-paper-rank-work_16059082", }); 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Se analiza la tradición cultural –en sentido diacrónico– desde las primeras representaciones miniadas de los Apocalipsis, con especial detenimiento en los ciclos de manuscritos sobre el Apocalipsis proliferaron desde el siglo XIII al XV. La continuidad de esta imagen tiene lugar especialmente en el mundo flamenco. En cuanto al barco, se analiza un recorrido de la tradición de éste como símbolo evangélico de la esperanza cercana en la salvación, poniéndolo en relación con la emblemática. 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Divine –Tamed – Triumphant</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Yannis Asvestas Eleni Bardani 10. Adorning the body: hairstyle, dress, jewellery I. Papageorgiou 11. Aromatic plants, perfumes and perfume vases: their uses in everyday and religious life during Archaic and Classical times D. Aktseli-E.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_61534969" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Yannis Asvestas Eleni Bardani 10. Adorning the body: hairstyle, dress, jewellery I. Papageorgiou 11. Aromatic plants, perfumes and perfume vases: their uses in everyday and religious life during Archaic and Classical times D. Aktseli-E. Manakidou 12. Making materials for beauty in Ancient Greece Ph. Walter 13. Beautification and Beauty: the legacy of prehistory to the historical times of Greek Antiquity I. D. Fappas CATALOGUE OF ANTIQUITIES KALLOS Introduction Divine beauty Divine beauty contests Daemonic beauty Abductions of beauty and erotic encounters Archaic and Classical/Hellenistic beauty Kallos of mortals Athletic beauty Heroic beauty ʻKaloi' and ʻKalai' in antiquity Timely beauty, untimely death BEAUTIFICATION The bath Use of perfumes and unguents Face and body care Hairstyles and dress Adornment</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/61534969" 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="599a6a8f8233a51aa2cf966d91158263" rel="nofollow" data-download="{"attachment_id":102743576,"asset_id":61534969,"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/102743576/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="975602" href="https://culture.academia.edu/AngelikiKottaridi">Angeliki Kottaridi</a><script data-card-contents-for-user="975602" type="text/json">{"id":975602,"first_name":"Angeliki","last_name":"Kottaridi","domain_name":"culture","page_name":"AngelikiKottaridi","display_name":"Angeliki Kottaridi","profile_url":"https://culture.academia.edu/AngelikiKottaridi?f_ri=869","photo":"https://0.academia-photos.com/975602/870831/1086745/s65_angeliki.kottaridi.jpg"}</script></span></span></li><li class="js-paper-rank-work_61534969 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="61534969"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 61534969, container: ".js-paper-rank-work_61534969", }); 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u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36837723/_2018_The_Sun_Youth_of_the_Casas_Grandes_Culture_Chihuahua_Mexico_AD_1200_1450_in_KIVA_Journal_of_Southwestern_Anthropology_and_History_">(2018) The Sun Youth of the Casas Grandes Culture, Chihuahua, Mexico (AD 1200–1450) [in KIVA: Journal of Southwestern Anthropology and History]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">To cite this article: <br />Michael D. Mathiowetz (2018): The Sun Youth of the Casas Grandes Culture, Chihuahua, Mexico (AD 1200–1450). Kiva: Journal of Southwestern Anthropology and History 84(3): 367-390.</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/36837723" 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="9c45754bac668aa6b775feca69976c82" rel="nofollow" data-download="{"attachment_id":101048276,"asset_id":36837723,"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/101048276/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="3045450" href="https://ucriverside.academia.edu/MichaelMathiowetz">Michael Mathiowetz</a><script data-card-contents-for-user="3045450" type="text/json">{"id":3045450,"first_name":"Michael","last_name":"Mathiowetz","domain_name":"ucriverside","page_name":"MichaelMathiowetz","display_name":"Michael Mathiowetz","profile_url":"https://ucriverside.academia.edu/MichaelMathiowetz?f_ri=869","photo":"https://0.academia-photos.com/3045450/1001661/1254925/s65_michael.mathiowetz.jpg"}</script></span></span></li><li class="js-paper-rank-work_36837723 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36837723"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36837723, container: ".js-paper-rank-work_36837723", }); 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Capitolele semnate de Bianca Constantin, Simona Drăgan, Georgiana Istrate și Simona Vinitor au o miză metodologică mai accentuată, raportându-se critic la istoriografia bogată și complexă a picturilor de care se ocupă. Oana Turcu și Marta Zamfirescu-Boceanu adaugă bibliografiei existente propriile interpretări, care completează literatura de specialitate fără a o contrazice. 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The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36581456" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">John Cabot University’s Master of Arts (MA) in Art History fosters professional mastery of the materials and methods of art history with emphasis on first-hand research in the museums, monuments, and archaeological sites of Rome. The degree can be completed in approximately fifteen months of full-time study. <br /> <br />The program has a dual focus: the acquisition of technical skills for primary research; and the analysis of visual cultures of Rome and the Mediterranean from antiquity to the present, with critical perspectives on their worldwide impact. Accredited by the Middle States Commission on Higher Education, John Cabot University's MA is the first US-accredited graduate degree program in art history taught entirely in Rome. <br /> <br />Applications are currently begin accepted for Fall 2018. Application deadlines: <br />° Late Decision I: June 1st <br />° Late Decision II: July 31st (available only to applicants who do not require a visa to study in Italy) <br /> <br />To apply: <a href="http://www.johncabot.edu/master-art-history/default.aspx" rel="nofollow">http://www.johncabot.edu/master-art-history/default.aspx</a> <br />For further information: <a href="mailto:graduateadmissions@johncabot.edu" rel="nofollow">graduateadmissions@johncabot.edu</a></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/36581456" 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="a7372d469dafce80fbd69d270d008de7" rel="nofollow" data-download="{"attachment_id":56508543,"asset_id":36581456,"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/56508543/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="698726" href="https://johncabot.academia.edu/LilaYawn">Lila Yawn</a><script data-card-contents-for-user="698726" type="text/json">{"id":698726,"first_name":"Lila","last_name":"Yawn","domain_name":"johncabot","page_name":"LilaYawn","display_name":"Lila Yawn","profile_url":"https://johncabot.academia.edu/LilaYawn?f_ri=869","photo":"https://0.academia-photos.com/698726/236914/5899989/s65_lila.yawn.jpg"}</script></span></span></li><li class="js-paper-rank-work_36581456 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36581456"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36581456, container: ".js-paper-rank-work_36581456", }); 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Из истории термина/Florensky and reverse perspective. From the history of a term</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Эпоха модерна - это переходная эпоха от классического к неклассическому знанию в философии. Поэтому появившееся в начале ХХ века понимание древнерусской иконы как «шедевра живописи» стало не только завоеванием формальной школы... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41759221" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Эпоха модерна - это переходная эпоха от классического к неклассическому знанию в философии. Поэтому появившееся в начале ХХ века понимание древнерусской иконы как «шедевра живописи» стало не только завоеванием формальной школы искусствознания, но также постклассической философии и богословия. Особая роль здесь принадлежала, как известно, Павлу Александровичу Флоренскому (1882-1937), утверждавшему, что живопись древней иконы представляет нам невидимые, ноуменальные структуры окружающего мира. Не останавливаясь на уровне стилистических описаний, Флоренский трактует икону в контексте своей символической философии («конкретной метафизики»), открывая тем самым подлинное назначение обратной перспективы как оригинальной пространственной системы средневекового образа. Святоотеческая традиция богословия иконы развивалась здесь не только на фоне современных эстетических теорий, но и в контексте новых достижений математической теории. Усердное изучение философом в 1910-е годы классиков религиозного мистицизма привнесло в его интерпретацию обратной перспективы характерное для мистиков увлечение иными «способами знания".</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/41759221" 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="7213cbba7dfff0ba5cc94636c33a9571" rel="nofollow" data-download="{"attachment_id":61917492,"asset_id":41759221,"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/61917492/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="56903255" href="https://independent.academia.edu/OTarasov">Oleg Tarasov</a><script data-card-contents-for-user="56903255" type="text/json">{"id":56903255,"first_name":"Oleg","last_name":"Tarasov","domain_name":"independent","page_name":"OTarasov","display_name":"Oleg Tarasov","profile_url":"https://independent.academia.edu/OTarasov?f_ri=869","photo":"https://0.academia-photos.com/56903255/14964760/22286942/s65_oleg.tarasov.jpg"}</script></span></span></li><li class="js-paper-rank-work_41759221 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41759221"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41759221, container: ".js-paper-rank-work_41759221", }); 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Из истории термина/Florensky and reverse perspective. From the history of a term","created_at":"2020-01-28T03:55:29.239-08:00","url":"https://www.academia.edu/41759221/%D0%A4%D0%BB%D0%BE%D1%80%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9_%D0%B8_%D0%BE%D0%B1%D1%80%D0%B0%D1%82%D0%BD%D0%B0%D1%8F_%D0%BF%D0%B5%D1%80%D1%81%D0%BF%D0%B5%D0%BA%D1%82%D0%B8%D0%B2%D0%B0_%D0%98%D0%B7_%D0%B8%D1%81%D1%82%D0%BE%D1%80%D0%B8%D0%B8_%D1%82%D0%B5%D1%80%D0%BC%D0%B8%D0%BD%D0%B0_Florensky_and_reverse_perspective_From_the_history_of_a_term?f_ri=869","dom_id":"work_41759221","summary":"Эпоха модерна - это переходная эпоха от классического к неклассическому знанию в философии. Поэтому появившееся в начале ХХ века понимание древнерусской иконы как «шедевра живописи» стало не только завоеванием формальной школы искусствознания, но также постклассической философии и богословия. Особая роль здесь принадлежала, как известно, Павлу Александровичу Флоренскому (1882-1937), утверждавшему, что живопись древней иконы представляет нам невидимые, ноуменальные структуры окружающего мира. Не останавливаясь на уровне стилистических описаний, Флоренский трактует икону в контексте своей символической философии («конкретной метафизики»), открывая тем самым подлинное назначение обратной перспективы как оригинальной пространственной системы средневекового образа. Святоотеческая традиция богословия иконы развивалась здесь не только на фоне современных эстетических теорий, но и в контексте новых достижений математической теории. Усердное изучение философом в 1910-е годы классиков религиозного мистицизма привнесло в его интерпретацию обратной перспективы характерное для мистиков увлечение иными «способами знания\".","downloadable_attachments":[{"id":61917492,"asset_id":41759221,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":56903255,"first_name":"Oleg","last_name":"Tarasov","domain_name":"independent","page_name":"OTarasov","display_name":"Oleg Tarasov","profile_url":"https://independent.academia.edu/OTarasov?f_ri=869","photo":"https://0.academia-photos.com/56903255/14964760/22286942/s65_oleg.tarasov.jpg"}],"research_interests":[{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=869","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=869","nofollow":true},{"id":1302,"name":"Theology","url":"https://www.academia.edu/Documents/in/Theology?f_ri=869","nofollow":true},{"id":14639,"name":"Byzantine Iconography","url":"https://www.academia.edu/Documents/in/Byzantine_Iconography?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_40907508" data-work_id="40907508" 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/40907508/The_Holy_Kings_of_Hungary">The Holy Kings of Hungary</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Book chapter</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/40907508" 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="4022b59437aa943165916d43e9e5b484" rel="nofollow" data-download="{"attachment_id":61196139,"asset_id":40907508,"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/61196139/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="1414273" href="https://institutarheologie-istoriaarteicj.academia.edu/ElenaDanaPrioteasa">Elena Dana Prioteasa</a><script data-card-contents-for-user="1414273" type="text/json">{"id":1414273,"first_name":"Elena Dana","last_name":"Prioteasa","domain_name":"institutarheologie-istoriaarteicj","page_name":"ElenaDanaPrioteasa","display_name":"Elena Dana Prioteasa","profile_url":"https://institutarheologie-istoriaarteicj.academia.edu/ElenaDanaPrioteasa?f_ri=869","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_40907508 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40907508"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40907508, container: ".js-paper-rank-work_40907508", }); 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Roots, associations, developments, later tradition.</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/40187773" 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="7e646f22f2d0d072b82d8c267eeb3a13" rel="nofollow" data-download="{"attachment_id":60411193,"asset_id":40187773,"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/60411193/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="975602" href="https://culture.academia.edu/AngelikiKottaridi">Angeliki Kottaridi</a><script data-card-contents-for-user="975602" type="text/json">{"id":975602,"first_name":"Angeliki","last_name":"Kottaridi","domain_name":"culture","page_name":"AngelikiKottaridi","display_name":"Angeliki Kottaridi","profile_url":"https://culture.academia.edu/AngelikiKottaridi?f_ri=869","photo":"https://0.academia-photos.com/975602/870831/1086745/s65_angeliki.kottaridi.jpg"}</script></span></span></li><li class="js-paper-rank-work_40187773 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40187773"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40187773, container: ".js-paper-rank-work_40187773", }); 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$(".js-view-count[data-work-id=40187773]").text(description); $(".js-view-count-work_40187773").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40187773").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="40187773"><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="392" rel="nofollow" href="https://www.academia.edu/Documents/in/Archaeology">Archaeology</a>, <script data-card-contents-for-ri="392" type="text/json">{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?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="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="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></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40187773]'), work: {"id":40187773,"title":"\"Βασίλισσες-ιέρειες-θεές: Από την Μακεδονία στην οικουμένη\"","created_at":"2019-08-27T08:16:04.472-07:00","url":"https://www.academia.edu/40187773/_%CE%92%CE%B1%CF%83%CE%AF%CE%BB%CE%B9%CF%83%CF%83%CE%B5%CF%82_%CE%B9%CE%AD%CF%81%CE%B5%CE%B9%CE%B5%CF%82_%CE%B8%CE%B5%CE%AD%CF%82_%CE%91%CF%80%CF%8C_%CF%84%CE%B7%CE%BD_%CE%9C%CE%B1%CE%BA%CE%B5%CE%B4%CE%BF%CE%BD%CE%AF%CE%B1_%CF%83%CF%84%CE%B7%CE%BD_%CE%BF%CE%B9%CE%BA%CE%BF%CF%85%CE%BC%CE%AD%CE%BD%CE%B7_?f_ri=869","dom_id":"work_40187773","summary":"The Iconography of Macedonian queens from Macedon (5th and 4th century B.C.) to the Hellenistic kingdoms. Roots, associations, developments, later tradition. ","downloadable_attachments":[{"id":60411193,"asset_id":40187773,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":975602,"first_name":"Angeliki","last_name":"Kottaridi","domain_name":"culture","page_name":"AngelikiKottaridi","display_name":"Angeliki Kottaridi","profile_url":"https://culture.academia.edu/AngelikiKottaridi?f_ri=869","photo":"https://0.academia-photos.com/975602/870831/1086745/s65_angeliki.kottaridi.jpg"}],"research_interests":[{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=869","nofollow":true},{"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":2059,"name":"History of Religion","url":"https://www.academia.edu/Documents/in/History_of_Religion?f_ri=869","nofollow":true},{"id":3266,"name":"Hellenistic History","url":"https://www.academia.edu/Documents/in/Hellenistic_History?f_ri=869"},{"id":27744,"name":"Ancient Greek Iconography","url":"https://www.academia.edu/Documents/in/Ancient_Greek_Iconography?f_ri=869"},{"id":33376,"name":"Ptolemaic Period","url":"https://www.academia.edu/Documents/in/Ptolemaic_Period?f_ri=869"},{"id":49663,"name":"Women and Gender Studies","url":"https://www.academia.edu/Documents/in/Women_and_Gender_Studies?f_ri=869"},{"id":53033,"name":"Ptolemaic Egypt","url":"https://www.academia.edu/Documents/in/Ptolemaic_Egypt?f_ri=869"},{"id":53284,"name":"History of the Hellenistic World (Focus: Seleucid Empire)","url":"https://www.academia.edu/Documents/in/History_of_the_Hellenistic_World_Focus_Seleucid_Empire_?f_ri=869"},{"id":77031,"name":"Macedonia","url":"https://www.academia.edu/Documents/in/Macedonia?f_ri=869"},{"id":85515,"name":"Roman Sculpture","url":"https://www.academia.edu/Documents/in/Roman_Sculpture?f_ri=869"},{"id":87650,"name":"Hellenistic Sculpture","url":"https://www.academia.edu/Documents/in/Hellenistic_Sculpture?f_ri=869"},{"id":101302,"name":"Hellenistic Kingship","url":"https://www.academia.edu/Documents/in/Hellenistic_Kingship?f_ri=869"},{"id":281383,"name":"Ancient Macedonia","url":"https://www.academia.edu/Documents/in/Ancient_Macedonia?f_ri=869"},{"id":281384,"name":"Argead Dynasty","url":"https://www.academia.edu/Documents/in/Argead_Dynasty?f_ri=869"},{"id":469738,"name":"Greek and Roman Sculpture","url":"https://www.academia.edu/Documents/in/Greek_and_Roman_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_20693447" data-work_id="20693447" 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/20693447/Decoration_of_performance_space_Meaning_and_ideology">Decoration of performance space: Meaning and ideology</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Thinking of music performance, we usually consider the action happening on the theater or concert stage, in front of spectators. However, performance space surrounding the spectators, its interior and exterior architectural decoration, as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20693447" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Thinking of music performance, we usually consider the action happening on the theater or concert stage, in front of spectators. However, performance space surrounding the spectators, its interior and exterior architectural decoration, as well as fashion of spectators and their habits are also constituent elements of a performance, supplementing the experience of a live event. Decoration elements, such as mythological compositions painted on theater ceilings, state insignia placed above the proscenium, or portraits of distinguished playwrights, composers or performers on theatre facades reflect the attitudes of past times and ideologies of political powers patronizing performances; sculptures accumulated over the time in theaters' foyers visually represent historical memory of the space becoming (national) shrines to performing arts. Theaters and other performance spaces are architectural artworks, often representing the pinnacle in artistic careers of their architects and interior designers, frequently appropriating the status of urban iconic symbols. The conference will focus on visual programs and decorations of spaces in which musical performances occur and the self-representation of audiences attending performances. All types of performance venues and performances which include music should be considered, including concerts and music theatre, religious ceremonies, contemporary popular music events, urban spectacles, pageantries and parades. Proposals are invited concerning: (1) Architectural interior and exterior decorations of performance spaces; (2) Reflections of political power presented in theatrical performances; (3) Ideological context of religious rituals and their spaces: (4) Political power demonstrated in public spectacles and parades; (5) Theater and concert hall architecture: (6) Spectators and audiences (habits, fashion, hair-styling, behavior): (7) Interpretation and issues concerning opera staging and scenography in general English is preferred language for the conference presentations.</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/20693447" 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="9b3f729b0c9385d8309ae62f8ac5f29a" rel="nofollow" data-download="{"attachment_id":46230409,"asset_id":20693447,"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/46230409/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="118115" href="https://gc-cuny.academia.edu/ZdravkoBlazekovic">Zdravko Blazekovic</a><script data-card-contents-for-user="118115" type="text/json">{"id":118115,"first_name":"Zdravko","last_name":"Blazekovic","domain_name":"gc-cuny","page_name":"ZdravkoBlazekovic","display_name":"Zdravko Blazekovic","profile_url":"https://gc-cuny.academia.edu/ZdravkoBlazekovic?f_ri=869","photo":"https://0.academia-photos.com/118115/3242061/20134979/s65_zdravko.blazekovic.jpg"}</script></span></span></li><li class="js-paper-rank-work_20693447 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20693447"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20693447, container: ".js-paper-rank-work_20693447", }); });</script></li><li class="js-percentile-work_20693447 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 = 20693447; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_20693447"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_20693447 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="20693447"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20693447; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20693447]").text(description); $(".js-view-count-work_20693447").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_20693447").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="20693447"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">26</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?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="947" rel="nofollow" href="https://www.academia.edu/Documents/in/Theatre_Studies">Theatre Studies</a>, <script data-card-contents-for-ri="947" type="text/json">{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1372" rel="nofollow" href="https://www.academia.edu/Documents/in/Architecture">Architecture</a><script data-card-contents-for-ri="1372" type="text/json">{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20693447]'), work: {"id":20693447,"title":"Decoration of performance space: Meaning and ideology","created_at":"2016-01-24T05:39:10.228-08:00","url":"https://www.academia.edu/20693447/Decoration_of_performance_space_Meaning_and_ideology?f_ri=869","dom_id":"work_20693447","summary":"Thinking of music performance, we usually consider the action happening on the theater or concert stage, in front of spectators. However, performance space surrounding the spectators, its interior and exterior architectural decoration, as well as fashion of spectators and their habits are also constituent elements of a performance, supplementing the experience of a live event. Decoration elements, such as mythological compositions painted on theater ceilings, state insignia placed above the proscenium, or portraits of distinguished playwrights, composers or performers on theatre facades reflect the attitudes of past times and ideologies of political powers patronizing performances; sculptures accumulated over the time in theaters' foyers visually represent historical memory of the space becoming (national) shrines to performing arts. Theaters and other performance spaces are architectural artworks, often representing the pinnacle in artistic careers of their architects and interior designers, frequently appropriating the status of urban iconic symbols. The conference will focus on visual programs and decorations of spaces in which musical performances occur and the self-representation of audiences attending performances. All types of performance venues and performances which include music should be considered, including concerts and music theatre, religious ceremonies, contemporary popular music events, urban spectacles, pageantries and parades. Proposals are invited concerning: (1) Architectural interior and exterior decorations of performance spaces; (2) Reflections of political power presented in theatrical performances; (3) Ideological context of religious rituals and their spaces: (4) Political power demonstrated in public spectacles and parades; (5) Theater and concert hall architecture: (6) Spectators and audiences (habits, fashion, hair-styling, behavior): (7) Interpretation and issues concerning opera staging and scenography in general English is preferred language for the conference presentations.","downloadable_attachments":[{"id":46230409,"asset_id":20693447,"asset_type":"Work","always_allow_download":false},{"id":46230428,"asset_id":20693447,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":118115,"first_name":"Zdravko","last_name":"Blazekovic","domain_name":"gc-cuny","page_name":"ZdravkoBlazekovic","display_name":"Zdravko Blazekovic","profile_url":"https://gc-cuny.academia.edu/ZdravkoBlazekovic?f_ri=869","photo":"https://0.academia-photos.com/118115/3242061/20134979/s65_zdravko.blazekovic.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=869","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":947,"name":"Theatre Studies","url":"https://www.academia.edu/Documents/in/Theatre_Studies?f_ri=869","nofollow":true},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=869","nofollow":true},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=869"},{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=869"},{"id":3866,"name":"Music Theater","url":"https://www.academia.edu/Documents/in/Music_Theater?f_ri=869"},{"id":4808,"name":"Urban Planning","url":"https://www.academia.edu/Documents/in/Urban_Planning?f_ri=869"},{"id":5037,"name":"Historical Ethnomusicology","url":"https://www.academia.edu/Documents/in/Historical_Ethnomusicology?f_ri=869"},{"id":6526,"name":"Scenography","url":"https://www.academia.edu/Documents/in/Scenography?f_ri=869"},{"id":7655,"name":"Architectural History","url":"https://www.academia.edu/Documents/in/Architectural_History?f_ri=869"},{"id":7725,"name":"Urban Studies","url":"https://www.academia.edu/Documents/in/Urban_Studies?f_ri=869"},{"id":13246,"name":"Interior Design (Architecture)","url":"https://www.academia.edu/Documents/in/Interior_Design_Architecture_?f_ri=869"},{"id":26875,"name":"Iconography (Music)","url":"https://www.academia.edu/Documents/in/Iconography_Music_?f_ri=869"},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=869"},{"id":30531,"name":"History and Theory of Scenography","url":"https://www.academia.edu/Documents/in/History_and_Theory_of_Scenography?f_ri=869"},{"id":45408,"name":"History of architecture","url":"https://www.academia.edu/Documents/in/History_of_architecture?f_ri=869"},{"id":79548,"name":"Arquitetura e Urbanismo","url":"https://www.academia.edu/Documents/in/Arquitetura_e_Urbanismo?f_ri=869"},{"id":90742,"name":"Musical Iconography","url":"https://www.academia.edu/Documents/in/Musical_Iconography?f_ri=869"},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869"},{"id":123557,"name":"Scenography and Design","url":"https://www.academia.edu/Documents/in/Scenography_and_Design?f_ri=869"},{"id":486597,"name":"Theatrology","url":"https://www.academia.edu/Documents/in/Theatrology?f_ri=869"},{"id":588617,"name":"Theater Arts","url":"https://www.academia.edu/Documents/in/Theater_Arts?f_ri=869"},{"id":599334,"name":"Architecture and Public Spaces","url":"https://www.academia.edu/Documents/in/Architecture_and_Public_Spaces?f_ri=869"},{"id":968896,"name":"Scenography and Architecture","url":"https://www.academia.edu/Documents/in/Scenography_and_Architecture?f_ri=869"},{"id":1223638,"name":"History of the Theater","url":"https://www.academia.edu/Documents/in/History_of_the_Theater?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_19563993 coauthored" data-work_id="19563993" 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/19563993/Caves_and_new_fire_ceremonies_in_the_central_mexican_highlands_the_case_of_the_Cerro_de_la_Estrella_Iztapalapa_Mexico">Caves and new fire ceremonies in the central mexican highlands: the case of the Cerro de la Estrella, Iztapalapa, Mexico</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 calendrical ritual known as the New Fire ceremony was in many ways the paramount rite of cultures of the central Mexican Highlands. Here, we will examine this ritual and its connection to caves as manifested at the Cerro de la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_19563993" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The calendrical ritual known as the New Fire ceremony was in many ways the paramount rite of cultures of the central Mexican Highlands. Here, we will examine this ritual and its connection to caves as manifested at the Cerro de la Estrella, where the last New Fire ceremony was celebrated by the Aztec in AD 1507. Based on continuities in rock art and archaeological evidence we suggest that New Fire ceremonies were already celebrated at the Cerro de la Estrella during the Epiclassic (c. AD 750-950) if not during the latter centuries of the Early Classic. We present results of investigations and contextualise our findings in relation to the ethnohistoric sources that pertain to the New Fire ceremony. We also suggest that the close connection between caves and fire-drilling rituals is established by mythological precedent recorded in the ethnohistoric manuscripts, wherein the emergence of humans from Chicomoztoc – the fabled ‘seven caves place’ – is closely followed by the drilling of the First Fire, an important aspect that heretofore has been overlooked and neglected by recent scholarship. For this reason, all subsequent New Fire rituals are in essence recreations of this foundational First Fire and materializations of the distant past.</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/19563993" 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="0e1340adadeeee8068d48f5402732357" rel="nofollow" data-download="{"attachment_id":54009354,"asset_id":19563993,"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/54009354/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="392744" href="https://ku-dk.academia.edu/ChristopheHelmke">Christophe Helmke</a><script data-card-contents-for-user="392744" type="text/json">{"id":392744,"first_name":"Christophe","last_name":"Helmke","domain_name":"ku-dk","page_name":"ChristopheHelmke","display_name":"Christophe Helmke","profile_url":"https://ku-dk.academia.edu/ChristopheHelmke?f_ri=869","photo":"https://0.academia-photos.com/392744/1378258/22390390/s65_christophe.helmke.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-19563993">+1</span><div class="hidden js-additional-users-19563993"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://conacyt.academia.edu/ArturoMontero">Ismael Arturo Montero García</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-19563993'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-19563993').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_19563993 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19563993"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19563993, container: ".js-paper-rank-work_19563993", }); });</script></li><li class="js-percentile-work_19563993 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 = 19563993; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_19563993"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_19563993 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="19563993"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 19563993; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=19563993]").text(description); $(".js-view-count-work_19563993").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_19563993").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="19563993"><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="4651" rel="nofollow" href="https://www.academia.edu/Documents/in/Mesoamerican_Archaeology">Mesoamerican Archaeology</a>, <script data-card-contents-for-ri="4651" type="text/json">{"id":4651,"name":"Mesoamerican Archaeology","url":"https://www.academia.edu/Documents/in/Mesoamerican_Archaeology?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="18221" rel="nofollow" href="https://www.academia.edu/Documents/in/Mesoamerican_caves">Mesoamerican caves</a>, <script data-card-contents-for-ri="18221" type="text/json">{"id":18221,"name":"Mesoamerican caves","url":"https://www.academia.edu/Documents/in/Mesoamerican_caves?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="27637" rel="nofollow" href="https://www.academia.edu/Documents/in/Calendars">Calendars</a><script data-card-contents-for-ri="27637" type="text/json">{"id":27637,"name":"Calendars","url":"https://www.academia.edu/Documents/in/Calendars?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19563993]'), work: {"id":19563993,"title":"Caves and new fire ceremonies in the central mexican highlands: the case of the Cerro de la Estrella, Iztapalapa, Mexico","created_at":"2015-12-08T12:21:29.799-08:00","url":"https://www.academia.edu/19563993/Caves_and_new_fire_ceremonies_in_the_central_mexican_highlands_the_case_of_the_Cerro_de_la_Estrella_Iztapalapa_Mexico?f_ri=869","dom_id":"work_19563993","summary":"The calendrical ritual known as the New Fire ceremony was in many ways the paramount rite of cultures of the central Mexican Highlands. Here, we will examine this ritual and its connection to caves as manifested at the Cerro de la Estrella, where the last New Fire ceremony was celebrated by the Aztec in AD 1507. Based on continuities in rock art and archaeological evidence we suggest that New Fire ceremonies were already celebrated at the Cerro de la Estrella during the Epiclassic (c. AD 750-950) if not during the latter centuries of the Early Classic. We present results of investigations and contextualise our findings in relation to the ethnohistoric sources that pertain to the New Fire ceremony. We also suggest that the close connection between caves and fire-drilling rituals is established by mythological precedent recorded in the ethnohistoric manuscripts, wherein the emergence of humans from Chicomoztoc – the fabled ‘seven caves place’ – is closely followed by the drilling of the First Fire, an important aspect that heretofore has been overlooked and neglected by recent scholarship. For this reason, all subsequent New Fire rituals are in essence recreations of this foundational First Fire and materializations of the distant past.","downloadable_attachments":[{"id":54009354,"asset_id":19563993,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":392744,"first_name":"Christophe","last_name":"Helmke","domain_name":"ku-dk","page_name":"ChristopheHelmke","display_name":"Christophe Helmke","profile_url":"https://ku-dk.academia.edu/ChristopheHelmke?f_ri=869","photo":"https://0.academia-photos.com/392744/1378258/22390390/s65_christophe.helmke.jpg"},{"id":39906060,"first_name":"Ismael Arturo","last_name":"Montero García","domain_name":"conacyt","page_name":"ArturoMontero","display_name":"Ismael Arturo Montero García","profile_url":"https://conacyt.academia.edu/ArturoMontero?f_ri=869","photo":"https://0.academia-photos.com/39906060/10942910/128934499/s65_ismael_arturo.montero_garc_a.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":4651,"name":"Mesoamerican Archaeology","url":"https://www.academia.edu/Documents/in/Mesoamerican_Archaeology?f_ri=869","nofollow":true},{"id":18221,"name":"Mesoamerican caves","url":"https://www.academia.edu/Documents/in/Mesoamerican_caves?f_ri=869","nofollow":true},{"id":27637,"name":"Calendars","url":"https://www.academia.edu/Documents/in/Calendars?f_ri=869","nofollow":true},{"id":27936,"name":"Archaeology of Caves and Caverns (Archaeospeleology)","url":"https://www.academia.edu/Documents/in/Archaeology_of_Caves_and_Caverns_Archaeospeleology_?f_ri=869"},{"id":68575,"name":"History, Science, Astronomy, Ancient Chronological Systems, Calendars","url":"https://www.academia.edu/Documents/in/History_Science_Astronomy_Ancient_Chronological_Systems_Calendars?f_ri=869"},{"id":158068,"name":"Caves","url":"https://www.academia.edu/Documents/in/Caves?f_ri=869"},{"id":284069,"name":"Cave Archaeology","url":"https://www.academia.edu/Documents/in/Cave_Archaeology?f_ri=869"},{"id":508158,"name":"Ancient Calendars","url":"https://www.academia.edu/Documents/in/Ancient_Calendars?f_ri=869"},{"id":580827,"name":"Calendars, astronomy and astrology in antiquity","url":"https://www.academia.edu/Documents/in/Calendars_astronomy_and_astrology_in_antiquity?f_ri=869"},{"id":1208038,"name":"Iztapalapa","url":"https://www.academia.edu/Documents/in/Iztapalapa?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_3906244" data-work_id="3906244" 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/3906244/The_Recipe_for_Rebirth_Cacao_as_Fish_in_the_Mythology_and_Symbolism_of_the_Ancient_Maya">The Recipe for Rebirth: Cacao as Fish in the Mythology and Symbolism of the Ancient Maya</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 the K’iche’ Popol Vuh, the head of Hun Hunahpu is likened to a calabash gourd, and in Classic Period iconography, to a cacao pod. This association with cacao continues in Hun Hunahpu's offspring, the Hero Twins. Their self-sacrifice in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3906244" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the K’iche’ Popol Vuh, the head of Hun Hunahpu is likened to a calabash gourd, and in Classic Period iconography, to a cacao pod. This association with cacao continues in Hun Hunahpu's offspring, the Hero Twins. Their self-sacrifice in the underworld parallels the stages of cacao processing: entrance into the underworld (burial, fermentation), burning (roasting), grinding of their bones on a metate, and pouring them into water. Subsequently, the twins are reborn as two fish. The first syllables of kakaw are homophonous with the first consonant and vowel in the proto-Mayan words for ‘two’, *ka, and ‘fish’, *kar. A visual representation of this wordplay occurs in glyphic spellings of kakaw, in which a fish, or a fish fin, is read as the syllable ka. The association between cacao and fish can subsequently be traced through mythology and iconographic representations, providing insight into the metaphorical value of cacao as a potent symbol of rebirth.</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/3906244" 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="c24e242a246359e1dd21689bb0d68428" rel="nofollow" data-download="{"attachment_id":31521577,"asset_id":3906244,"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/31521577/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="4362815" href="https://scc-losrios.academia.edu/MichaelGrofe">Michael Grofe</a><script data-card-contents-for-user="4362815" type="text/json">{"id":4362815,"first_name":"Michael","last_name":"Grofe","domain_name":"scc-losrios","page_name":"MichaelGrofe","display_name":"Michael Grofe","profile_url":"https://scc-losrios.academia.edu/MichaelGrofe?f_ri=869","photo":"https://0.academia-photos.com/4362815/1759811/17793550/s65_michael.grofe.jpg"}</script></span></span></li><li class="js-paper-rank-work_3906244 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3906244"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3906244, container: ".js-paper-rank-work_3906244", }); });</script></li><li class="js-percentile-work_3906244 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 = 3906244; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_3906244"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_3906244 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="3906244"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3906244; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3906244]").text(description); $(".js-view-count-work_3906244").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3906244").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="3906244"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="788" rel="nofollow" href="https://www.academia.edu/Documents/in/Mythology">Mythology</a>, <script data-card-contents-for-ri="788" type="text/json">{"id":788,"name":"Mythology","url":"https://www.academia.edu/Documents/in/Mythology?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="1372" rel="nofollow" href="https://www.academia.edu/Documents/in/Architecture">Architecture</a>, <script data-card-contents-for-ri="1372" type="text/json">{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4000" rel="nofollow" href="https://www.academia.edu/Documents/in/Anthropology_of_Food">Anthropology of Food</a><script data-card-contents-for-ri="4000" type="text/json">{"id":4000,"name":"Anthropology of Food","url":"https://www.academia.edu/Documents/in/Anthropology_of_Food?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3906244]'), work: {"id":3906244,"title":"The Recipe for Rebirth: Cacao as Fish in the Mythology and Symbolism of the Ancient Maya","created_at":"2013-07-08T09:32:06.743-07:00","url":"https://www.academia.edu/3906244/The_Recipe_for_Rebirth_Cacao_as_Fish_in_the_Mythology_and_Symbolism_of_the_Ancient_Maya?f_ri=869","dom_id":"work_3906244","summary":"In the K’iche’ Popol Vuh, the head of Hun Hunahpu is likened to a calabash gourd, and in Classic Period iconography, to a cacao pod. This association with cacao continues in Hun Hunahpu's offspring, the Hero Twins. Their self-sacrifice in the underworld parallels the stages of cacao processing: entrance into the underworld (burial, fermentation), burning (roasting), grinding of their bones on a metate, and pouring them into water. Subsequently, the twins are reborn as two fish. The first syllables of kakaw are homophonous with the first consonant and vowel in the proto-Mayan words for ‘two’, *ka, and ‘fish’, *kar. A visual representation of this wordplay occurs in glyphic spellings of kakaw, in which a fish, or a fish fin, is read as the syllable ka. The association between cacao and fish can subsequently be traced through mythology and iconographic representations, providing insight into the metaphorical value of cacao as a potent symbol of rebirth.","downloadable_attachments":[{"id":31521577,"asset_id":3906244,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4362815,"first_name":"Michael","last_name":"Grofe","domain_name":"scc-losrios","page_name":"MichaelGrofe","display_name":"Michael Grofe","profile_url":"https://scc-losrios.academia.edu/MichaelGrofe?f_ri=869","photo":"https://0.academia-photos.com/4362815/1759811/17793550/s65_michael.grofe.jpg"}],"research_interests":[{"id":788,"name":"Mythology","url":"https://www.academia.edu/Documents/in/Mythology?f_ri=869","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=869","nofollow":true},{"id":4000,"name":"Anthropology of Food","url":"https://www.academia.edu/Documents/in/Anthropology_of_Food?f_ri=869","nofollow":true},{"id":4651,"name":"Mesoamerican Archaeology","url":"https://www.academia.edu/Documents/in/Mesoamerican_Archaeology?f_ri=869"},{"id":16869,"name":"Classic Maya (Archaeology)","url":"https://www.academia.edu/Documents/in/Classic_Maya_Archaeology_?f_ri=869"},{"id":17715,"name":"Maya Archaeology","url":"https://www.academia.edu/Documents/in/Maya_Archaeology?f_ri=869"},{"id":27257,"name":"Maya Epigraphy","url":"https://www.academia.edu/Documents/in/Maya_Epigraphy?f_ri=869"},{"id":47599,"name":"Astronomy","url":"https://www.academia.edu/Documents/in/Astronomy?f_ri=869"},{"id":221849,"name":"Mesoamerican Studies","url":"https://www.academia.edu/Documents/in/Mesoamerican_Studies?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_1850088" data-work_id="1850088" 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/1850088/Justice_Love_and_Rape_Giotto_s_Allegories_of_Justice_and_Injustice_in_the_Arena_Chapel_Padua">Justice, Love and Rape: Giotto’s Allegories of Justice and Injustice in the Arena Chapel, Padua</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">7yWḰ 7KH 'HIHQVH 5HVWVµ 3LFWXULQJ WKH 8QUHVW RI /DZ DQG 2UGHU LQ &KLFDJR 3pWHU .HFVNpV &RVPRJUDPVµ ([KLELWLRQ DQG 3UHVHQWDWLRQ &RQWULEXWRUV· DIILOLDWLRQV 3pWHU %RNRG\ -XVWLFH /RYH DQG 5DSH *LRWWR·V $OOHJRULHV RI -XVWLFH DQG ,QMXVWLFH LQ... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1850088" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">7yWḰ 7KH 'HIHQVH 5HVWVµ 3LFWXULQJ WKH 8QUHVW RI /DZ DQG 2UGHU LQ &KLFDJR 3pWHU .HFVNpV &RVPRJUDPVµ ([KLELWLRQ DQG 3UHVHQWDWLRQ &RQWULEXWRUV· DIILOLDWLRQV 3pWHU %RNRG\ -XVWLFH /RYH DQG 5DSH *LRWWR·V $OOHJRULHV RI -XVWLFH DQG ,QMXVWLFH LQ WKH $UHQD &KDSHO 3DGXD 7KH DOOHJRULHV RI -XVWLFH DQG ,QMXVWLFH LQ WKH $UHQD FKDSHO 3DGXD DUH LPSRUWDQW ODQGPDUNV ERWK LQ WKH KLVWRU\ RI UHDOLVWLF UHSUHVHQWDWLRQ DQG 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9778461" data-work_id="9778461" 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/9778461/Il_Belice_prima_e_dopo_il_1968_attraverso_le_iconografie">Il Belice prima e dopo il 1968 attraverso le iconografie</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 1968 earthquake in western Sicily is a break point in the history of a territory rich and layered. The journalism has mainly dealt with the case Gibellina, but in reality is the entire geographical area to have changed relationships... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9778461" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The 1968 earthquake in western Sicily is a break point in the history of a territory rich and layered. The journalism has mainly dealt with the case Gibellina, but in reality is the entire geographical area to have changed relationships and vocations. The iconography and photographs can witness the difference that occurred within a few years. In fact, the contemporary architecture linked to the reconstruction is only one of the parameters suitable to interpret mutations identity of places, see the cases of Poggioreale and Salemi. The project will make use of visual materials and graphics traced in local archives and the constant comparison between the performances before and after the earthquake. This work also serves to balance the overall perception of an area that the collective is composed of only the architecture of the late twentieth century. The earthquake has accelerated some trends already in place, in some cases radically altered conformations urban, yet the folds of these reconstructions history continues to resurface.</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/9778461" 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="59885e73f9b2931539b568602ecb2b84" rel="nofollow" data-download="{"attachment_id":35954623,"asset_id":9778461,"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/35954623/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="23536707" href="https://unipa.academia.edu/AArmetta">Antonella Armetta</a><script data-card-contents-for-user="23536707" type="text/json">{"id":23536707,"first_name":"Antonella","last_name":"Armetta","domain_name":"unipa","page_name":"AArmetta","display_name":"Antonella Armetta","profile_url":"https://unipa.academia.edu/AArmetta?f_ri=869","photo":"https://0.academia-photos.com/23536707/6378761/7217006/s65_antonella.armetta.jpg"}</script></span></span></li><li class="js-paper-rank-work_9778461 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9778461"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9778461, container: ".js-paper-rank-work_9778461", }); 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The journalism has mainly dealt with the case Gibellina, but in reality is the entire geographical area to have changed relationships and vocations. The iconography and photographs can witness the difference that occurred within a few years. In fact, the contemporary architecture linked to the reconstruction is only one of the parameters suitable to interpret mutations identity of places, see the cases of Poggioreale and Salemi. The project will make use of visual materials and graphics traced in local archives and the constant comparison between the performances before and after the earthquake. This work also serves to balance the overall perception of an area that the collective is composed of only the architecture of the late twentieth century. The earthquake has accelerated some trends already in place, in some cases radically altered conformations urban, yet the folds of these reconstructions history continues to resurface. 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Seals","url":"https://www.academia.edu/Documents/in/Scarabs_Seals?f_ri=869"},{"id":983180,"name":"Magical Gems","url":"https://www.academia.edu/Documents/in/Magical_Gems?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_28333808" data-work_id="28333808" 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/28333808/Il_culto_del_profeta_Elia_tra_Oriente_ed_Occidente">Il culto del profeta Elia tra Oriente ed Occidente</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Il culto del profeta Elia ha incontrato una grandissima espansione in Oriente, ove tuttora la sua figura è oggetto di devozione, ma non in Occidente. Nella Chiesa Cattolica pare infatti che questo personaggio dell’Antico Testamento sia... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28333808" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Il culto del profeta Elia ha incontrato una grandissima espansione in Oriente, ove tuttora la sua figura è oggetto di devozione, ma non in Occidente.<br />Nella Chiesa Cattolica pare infatti che questo personaggio dell’Antico Testamento sia stato un po’ accantonato e non abbia mai goduto dell’attenzione che sarebbe stato lecito attendersi.<br />Utilizzando questa osservazione come spunto iniziale, il presente articolo si pone il fine di indagare lo sviluppo del culto di Elia partendo dalle prime manifestazioni in Palestina e seguendo la successiva diffusione nel Medio Oriente e in Russia.<br />Particolare attenzione è riservata alle deboli tracce lasciate dal culto di Elia in Occidente e, in particolare, in Italia.<br />Dal confronto tra la ricchezza delle tradizioni, o leggende, orientali e la scarsità delle informazioni reperibili in Occidente emerge una netta separazione a cui solo in parte pare aver posto rimedio l’attività dell’ordine carmelitano.<br /><br /><br /><br /><br /><br /><br /><br />The cult of Elia has reached a high level of expansion in the Orient, where he is still venerated, but not in the West.<br />In the catholic church indeed Elia hasn't received a lot of attention (less of what it could have been expected)<br />That is the starting point of this paper, indeed the purpose of this article is to evaluate the Cult of Elia at first in Palestina and then the expansion in the Middle East and Russia. Another relevant part of the paper is the evaluation of the cult in the West and in particular in Italy.<br />The activity of the carmelite order has covered only in part the difference between the abundant availability of traditions and stories related to Elia in the East and the lack of information in the West.</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/28333808" 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="777050fa4f4e3038e6ea4d55c450a1f2" rel="nofollow" data-download="{"attachment_id":48666800,"asset_id":28333808,"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/48666800/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="15656502" href="https://independent.academia.edu/DavideFerraris">Davide Ferraris</a><script data-card-contents-for-user="15656502" type="text/json">{"id":15656502,"first_name":"Davide","last_name":"Ferraris","domain_name":"independent","page_name":"DavideFerraris","display_name":"Davide Ferraris","profile_url":"https://independent.academia.edu/DavideFerraris?f_ri=869","photo":"https://0.academia-photos.com/15656502/7230523/8139120/s65_davide.ferraris.jpg"}</script></span></span></li><li class="js-paper-rank-work_28333808 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28333808"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28333808, container: ".js-paper-rank-work_28333808", }); 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Another relevant part of the paper is the evaluation of the cult in the West and in particular in Italy.\nThe activity of the carmelite order has covered only in part the difference between the abundant availability of traditions and stories related to Elia in the East and the lack of information in the West.","downloadable_attachments":[{"id":48666800,"asset_id":28333808,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":15656502,"first_name":"Davide","last_name":"Ferraris","domain_name":"independent","page_name":"DavideFerraris","display_name":"Davide Ferraris","profile_url":"https://independent.academia.edu/DavideFerraris?f_ri=869","photo":"https://0.academia-photos.com/15656502/7230523/8139120/s65_davide.ferraris.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":983,"name":"Jewish Studies","url":"https://www.academia.edu/Documents/in/Jewish_Studies?f_ri=869","nofollow":true},{"id":2471,"name":"History of Christianity","url":"https://www.academia.edu/Documents/in/History_of_Christianity?f_ri=869","nofollow":true},{"id":2574,"name":"James Joyce","url":"https://www.academia.edu/Documents/in/James_Joyce?f_ri=869","nofollow":true},{"id":5326,"name":"Early Christianity","url":"https://www.academia.edu/Documents/in/Early_Christianity?f_ri=869"},{"id":6627,"name":"Jewish History","url":"https://www.academia.edu/Documents/in/Jewish_History?f_ri=869"},{"id":7079,"name":"Cult of Saints","url":"https://www.academia.edu/Documents/in/Cult_of_Saints?f_ri=869"},{"id":10947,"name":"Jewish - Christian Relations","url":"https://www.academia.edu/Documents/in/Jewish_-_Christian_Relations?f_ri=869"},{"id":13809,"name":"Prophets","url":"https://www.academia.edu/Documents/in/Prophets?f_ri=869"},{"id":14639,"name":"Byzantine Iconography","url":"https://www.academia.edu/Documents/in/Byzantine_Iconography?f_ri=869"},{"id":14893,"name":"Church History","url":"https://www.academia.edu/Documents/in/Church_History?f_ri=869"},{"id":15455,"name":"Russian History","url":"https://www.academia.edu/Documents/in/Russian_History?f_ri=869"},{"id":15840,"name":"Russian Orthodoxy","url":"https://www.academia.edu/Documents/in/Russian_Orthodoxy?f_ri=869"},{"id":20634,"name":"Muslim-Christian Relation","url":"https://www.academia.edu/Documents/in/Muslim-Christian_Relation?f_ri=869"},{"id":21049,"name":"Christian Spirituality","url":"https://www.academia.edu/Documents/in/Christian_Spirituality?f_ri=869"},{"id":27032,"name":"Christian Iconography","url":"https://www.academia.edu/Documents/in/Christian_Iconography?f_ri=869"},{"id":27123,"name":"Israelite Religion","url":"https://www.academia.edu/Documents/in/Israelite_Religion?f_ri=869"},{"id":31870,"name":"Iconology","url":"https://www.academia.edu/Documents/in/Iconology?f_ri=869"},{"id":34642,"name":"Israel","url":"https://www.academia.edu/Documents/in/Israel?f_ri=869"},{"id":41863,"name":"Russia","url":"https://www.academia.edu/Documents/in/Russia?f_ri=869"},{"id":65058,"name":"Novgorod","url":"https://www.academia.edu/Documents/in/Novgorod?f_ri=869"},{"id":78162,"name":"Jerome K. 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Altemps","url":"https://www.academia.edu/Documents/in/Marco_Sittico_Altemps?f_ri=869"},{"id":1229372,"name":"The Farnese of Parma and Piacenza","url":"https://www.academia.edu/Documents/in/The_Farnese_of_Parma_and_Piacenza?f_ri=869"},{"id":1505761,"name":"Sebastiano Ricci","url":"https://www.academia.edu/Documents/in/Sebastiano_Ricci?f_ri=869"},{"id":2593407,"name":"Iconography and patronage of Pope Pius IV","url":"https://www.academia.edu/Documents/in/Iconography_and_patronage_of_Pope_Pius_IV?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_35580008" data-work_id="35580008" 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/35580008/Mosaic_Programmes_in_Domestic_Contexts_at_Zeugma">Mosaic Programmes in Domestic Contexts at Zeugma</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 article reassesses mosaic programmes in domestic contexts and in private spheres in the houses at Zeugma and in some other Greco-Roman cities. The starting point of the argument in the article is a mosaic inscription which was found... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35580008" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This article reassesses mosaic programmes in domestic contexts and in private spheres in the houses at Zeugma and in some other Greco-Roman cities. The starting point of the argument in the article is a mosaic inscription which was found in a Roman house in Zeugma. The mosaic pavement itself decorates the floor of a chamber decorated with geometric patterns and the inscription in the middle. The inscription is an epithalamium, a wedding song, written for a newly-wedded couple, probably residents of the house, whose names are also partly preserved in the poem. The inscription suggests that the theme and iconography of the mosaics and frescoes in public dining rooms and private rooms in the domestic context are associated with the stories of the gods, goddesses or other well-known couples related to the concept of ideal marriage in mythology and in literature.<br />These marriage-related themes are accompanied by images of Dionysiac domesticity and Bacchic frenzy. This article proposes that many of these mosaics, which are much more permanent than the rest of the decoration,<br />may have been commissioned as part of marriage preparations, perhaps as gifts to the wedded couple. The subjects are chosen according to the intellectual background of the house-dwellers and their milieu, from literary<br />and mythological narratives that are meant to protect the new family’s happiness and union, serve as a reminder of marriage and symbolize the perpetuity of the family’s progeny and its prosperity.</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/35580008" 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="ccf8cb2876095687c7719587aa7fa3eb" rel="nofollow" data-download="{"attachment_id":55446130,"asset_id":35580008,"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/55446130/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="4131483" href="https://ankara.academia.edu/KutalmisGorkay">Kutalmis Gorkay</a><script data-card-contents-for-user="4131483" type="text/json">{"id":4131483,"first_name":"Kutalmis","last_name":"Gorkay","domain_name":"ankara","page_name":"KutalmisGorkay","display_name":"Kutalmis Gorkay","profile_url":"https://ankara.academia.edu/KutalmisGorkay?f_ri=869","photo":"https://0.academia-photos.com/4131483/1602986/19031032/s65_kutalmis.gorkay.png"}</script></span></span></li><li class="js-paper-rank-work_35580008 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35580008"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35580008, container: ".js-paper-rank-work_35580008", }); 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$(".js-view-count[data-work-id=35580008]").text(description); $(".js-view-count-work_35580008").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35580008").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="35580008"><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="32626" rel="nofollow" href="https://www.academia.edu/Documents/in/Graeco-Roman_Mosaics_and_Wall_Paintings">Graeco-Roman Mosaics and Wall Paintings</a>, <script data-card-contents-for-ri="32626" type="text/json">{"id":32626,"name":"Graeco-Roman Mosaics and Wall Paintings","url":"https://www.academia.edu/Documents/in/Graeco-Roman_Mosaics_and_Wall_Paintings?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="163799" rel="nofollow" href="https://www.academia.edu/Documents/in/Roman_Mosaics">Roman Mosaics</a>, <script data-card-contents-for-ri="163799" type="text/json">{"id":163799,"name":"Roman Mosaics","url":"https://www.academia.edu/Documents/in/Roman_Mosaics?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="342896" rel="nofollow" href="https://www.academia.edu/Documents/in/Zeugma">Zeugma</a><script data-card-contents-for-ri="342896" type="text/json">{"id":342896,"name":"Zeugma","url":"https://www.academia.edu/Documents/in/Zeugma?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35580008]'), work: {"id":35580008,"title":"Mosaic Programmes in Domestic Contexts at Zeugma","created_at":"2018-01-04T10:49:13.530-08:00","url":"https://www.academia.edu/35580008/Mosaic_Programmes_in_Domestic_Contexts_at_Zeugma?f_ri=869","dom_id":"work_35580008","summary":"This article reassesses mosaic programmes in domestic contexts and in private spheres in the houses at Zeugma and in some other Greco-Roman cities. The starting point of the argument in the article is a mosaic inscription which was found in a Roman house in Zeugma. The mosaic pavement itself decorates the floor of a chamber decorated with geometric patterns and the inscription in the middle. The inscription is an epithalamium, a wedding song, written for a newly-wedded couple, probably residents of the house, whose names are also partly preserved in the poem. The inscription suggests that the theme and iconography of the mosaics and frescoes in public dining rooms and private rooms in the domestic context are associated with the stories of the gods, goddesses or other well-known couples related to the concept of ideal marriage in mythology and in literature.\nThese marriage-related themes are accompanied by images of Dionysiac domesticity and Bacchic frenzy. This article proposes that many of these mosaics, which are much more permanent than the rest of the decoration,\nmay have been commissioned as part of marriage preparations, perhaps as gifts to the wedded couple. The subjects are chosen according to the intellectual background of the house-dwellers and their milieu, from literary\nand mythological narratives that are meant to protect the new family’s happiness and union, serve as a reminder of marriage and symbolize the perpetuity of the family’s progeny and its prosperity.","downloadable_attachments":[{"id":55446130,"asset_id":35580008,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4131483,"first_name":"Kutalmis","last_name":"Gorkay","domain_name":"ankara","page_name":"KutalmisGorkay","display_name":"Kutalmis Gorkay","profile_url":"https://ankara.academia.edu/KutalmisGorkay?f_ri=869","photo":"https://0.academia-photos.com/4131483/1602986/19031032/s65_kutalmis.gorkay.png"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":32626,"name":"Graeco-Roman Mosaics and Wall Paintings","url":"https://www.academia.edu/Documents/in/Graeco-Roman_Mosaics_and_Wall_Paintings?f_ri=869","nofollow":true},{"id":163799,"name":"Roman Mosaics","url":"https://www.academia.edu/Documents/in/Roman_Mosaics?f_ri=869","nofollow":true},{"id":342896,"name":"Zeugma","url":"https://www.academia.edu/Documents/in/Zeugma?f_ri=869","nofollow":true},{"id":665528,"name":"Marriage Customs and Rites","url":"https://www.academia.edu/Documents/in/Marriage_Customs_and_Rites?f_ri=869"},{"id":1889907,"name":"Epithalamium","url":"https://www.academia.edu/Documents/in/Epithalamium?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_40660069" data-work_id="40660069" 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/40660069/EXPRESS%C3%95ES_NA_ARTE_SACRA_O_MENINO_DOS_MENINOS_a_iconografia_do_Menino_Deus">EXPRESSÕES NA ARTE SACRA: O MENINO DOS MENINOS: a iconografia do Menino Deus</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Curso ministrado no Museu de Arte Sacra de São Paulo em 2014. Conteúdo teórico: A representação do Menino Deus, a Natividade, o Presépio, Menino Jesus de Praga. A iconografia do Menino Jesus do Monte do Recolhimento dos Humildes na Bahia... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40660069" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Curso ministrado no Museu de Arte Sacra de São Paulo em 2014. Conteúdo teórico: A representação do Menino Deus, a Natividade, o Presépio, Menino Jesus de Praga. A iconografia do Menino Jesus do Monte do Recolhimento dos Humildes na Bahia e seu simbolismo. Atividade prática: Pintura em tempera-cola com pigmentos de uma imagem de gesso do Menino Jesus, sobre douração.</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/40660069" 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="4e05108e02322e85dbd4be28fa4f8b50" rel="nofollow" data-download="{"attachment_id":60943882,"asset_id":40660069,"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/60943882/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="16162314" href="https://mackenzie.academia.edu/SilvanaBorges">Silvana Borges</a><script data-card-contents-for-user="16162314" type="text/json">{"id":16162314,"first_name":"Silvana","last_name":"Borges","domain_name":"mackenzie","page_name":"SilvanaBorges","display_name":"Silvana Borges","profile_url":"https://mackenzie.academia.edu/SilvanaBorges?f_ri=869","photo":"https://0.academia-photos.com/16162314/5062914/18180856/s65_silvana.borges.jpg"}</script></span></span></li><li class="js-paper-rank-work_40660069 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40660069"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40660069, container: ".js-paper-rank-work_40660069", }); 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$(".js-view-count[data-work-id=40660069]").text(description); $(".js-view-count-work_40660069").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40660069").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="40660069"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</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="43458" rel="nofollow" href="https://www.academia.edu/Documents/in/Sacred_Art">Sacred Art</a>, <script data-card-contents-for-ri="43458" type="text/json">{"id":43458,"name":"Sacred Art","url":"https://www.academia.edu/Documents/in/Sacred_Art?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="101654" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconografia">Iconografia</a>, <script data-card-contents-for-ri="101654" type="text/json">{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="306486" rel="nofollow" href="https://www.academia.edu/Documents/in/Arte_sacra">Arte sacra</a><script data-card-contents-for-ri="306486" type="text/json">{"id":306486,"name":"Arte sacra","url":"https://www.academia.edu/Documents/in/Arte_sacra?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40660069]'), work: {"id":40660069,"title":"EXPRESSÕES NA ARTE SACRA: O MENINO DOS MENINOS: a iconografia do Menino Deus","created_at":"2019-10-18T06:18:51.361-07:00","url":"https://www.academia.edu/40660069/EXPRESS%C3%95ES_NA_ARTE_SACRA_O_MENINO_DOS_MENINOS_a_iconografia_do_Menino_Deus?f_ri=869","dom_id":"work_40660069","summary":"Curso ministrado no Museu de Arte Sacra de São Paulo em 2014. Conteúdo teórico: A representação do Menino Deus, a Natividade, o Presépio, Menino Jesus de Praga. A iconografia do Menino Jesus do Monte do Recolhimento dos Humildes na Bahia e seu simbolismo. Atividade prática: Pintura em tempera-cola com pigmentos de uma imagem de gesso do Menino Jesus, sobre douração.","downloadable_attachments":[{"id":60943882,"asset_id":40660069,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16162314,"first_name":"Silvana","last_name":"Borges","domain_name":"mackenzie","page_name":"SilvanaBorges","display_name":"Silvana Borges","profile_url":"https://mackenzie.academia.edu/SilvanaBorges?f_ri=869","photo":"https://0.academia-photos.com/16162314/5062914/18180856/s65_silvana.borges.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":43458,"name":"Sacred Art","url":"https://www.academia.edu/Documents/in/Sacred_Art?f_ri=869","nofollow":true},{"id":101654,"name":"Iconografia","url":"https://www.academia.edu/Documents/in/Iconografia?f_ri=869","nofollow":true},{"id":306486,"name":"Arte sacra","url":"https://www.academia.edu/Documents/in/Arte_sacra?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_32303802" data-work_id="32303802" 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/32303802/What_is_the_Golden_Calf">What is the Golden Calf?</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 golden calf episode in Exodus is both popular and perplexing. While it has a shared ancient Near Eastern heritage of understanding divine presence, it chooses to undermine that heritage to promote its particular agenda. This study... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32303802" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The golden calf episode in Exodus is both popular and perplexing. While it has a shared ancient Near Eastern heritage of understanding divine presence, it chooses to undermine that heritage to promote its particular agenda.  This study clarifies the text by situating it more firmly in its ancient Near Eastern context and by addressing the biblical adaptations that emerge when we address each of the chapter’s distinct voices.    It also considers the importance of perspective—what each character sees and how their vision affects their viewpoint—and the importance of divine visibility both within Exodus 32 and in the larger non-Priestly narrative.</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/32303802" 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="8731fc20cc6b8dadcf22d2fd28ce1e67" rel="nofollow" data-download="{"attachment_id":54246223,"asset_id":32303802,"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/54246223/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="1047682" href="https://memphis.academia.edu/MichaelHundley">Michael Hundley</a><script data-card-contents-for-user="1047682" type="text/json">{"id":1047682,"first_name":"Michael","last_name":"Hundley","domain_name":"memphis","page_name":"MichaelHundley","display_name":"Michael Hundley","profile_url":"https://memphis.academia.edu/MichaelHundley?f_ri=869","photo":"https://0.academia-photos.com/1047682/360734/155437783/s65_michael.hundley.png"}</script></span></span></li><li class="js-paper-rank-work_32303802 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32303802"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32303802, container: ".js-paper-rank-work_32303802", }); 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$(".js-view-count[data-work-id=32303802]").text(description); $(".js-view-count-work_32303802").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32303802").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="32303802"><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="1302" rel="nofollow" href="https://www.academia.edu/Documents/in/Theology">Theology</a>, <script data-card-contents-for-ri="1302" type="text/json">{"id":1302,"name":"Theology","url":"https://www.academia.edu/Documents/in/Theology?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4173" rel="nofollow" href="https://www.academia.edu/Documents/in/Hebrew_Bible">Hebrew Bible</a>, <script data-card-contents-for-ri="4173" type="text/json">{"id":4173,"name":"Hebrew Bible","url":"https://www.academia.edu/Documents/in/Hebrew_Bible?f_ri=869","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="6528" rel="nofollow" href="https://www.academia.edu/Documents/in/Biblical_Studies">Biblical Studies</a><script data-card-contents-for-ri="6528" type="text/json">{"id":6528,"name":"Biblical Studies","url":"https://www.academia.edu/Documents/in/Biblical_Studies?f_ri=869","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32303802]'), work: {"id":32303802,"title":"What is the Golden Calf?","created_at":"2017-04-06T13:26:49.378-07:00","url":"https://www.academia.edu/32303802/What_is_the_Golden_Calf?f_ri=869","dom_id":"work_32303802","summary":"The golden calf episode in Exodus is both popular and perplexing. While it has a shared ancient Near Eastern heritage of understanding divine presence, it chooses to undermine that heritage to promote its particular agenda. This study clarifies the text by situating it more firmly in its ancient Near Eastern context and by addressing the biblical adaptations that emerge when we address each of the chapter’s distinct voices. It also considers the importance of perspective—what each character sees and how their vision affects their viewpoint—and the importance of divine visibility both within Exodus 32 and in the larger non-Priestly narrative.","downloadable_attachments":[{"id":54246223,"asset_id":32303802,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1047682,"first_name":"Michael","last_name":"Hundley","domain_name":"memphis","page_name":"MichaelHundley","display_name":"Michael Hundley","profile_url":"https://memphis.academia.edu/MichaelHundley?f_ri=869","photo":"https://0.academia-photos.com/1047682/360734/155437783/s65_michael.hundley.png"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":1302,"name":"Theology","url":"https://www.academia.edu/Documents/in/Theology?f_ri=869","nofollow":true},{"id":4173,"name":"Hebrew Bible","url":"https://www.academia.edu/Documents/in/Hebrew_Bible?f_ri=869","nofollow":true},{"id":6528,"name":"Biblical Studies","url":"https://www.academia.edu/Documents/in/Biblical_Studies?f_ri=869","nofollow":true},{"id":10946,"name":"Biblical Theology","url":"https://www.academia.edu/Documents/in/Biblical_Theology?f_ri=869"},{"id":32065,"name":"Hebrew Bible and Ancient Near East","url":"https://www.academia.edu/Documents/in/Hebrew_Bible_and_Ancient_Near_East?f_ri=869"},{"id":445280,"name":"Hebrew Bible/Old Testament","url":"https://www.academia.edu/Documents/in/Hebrew_Bible_Old_Testament?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_26430506" data-work_id="26430506" 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/26430506/The_Image_Paradigm_of_the_Fire_of_God_in_the_Bible_and_in_the_Christian_Tradition">The Image-Paradigm of the Fire of God in the Bible and in the Christian Tradition</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 main themes of fire in the Bible can be united around the concept of the Fire of God. This is in the first place the fire of Judgement which burns out sin, but spares the righteous. Fire is naturally associated with the Divine because... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26430506" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The main themes of fire in the Bible can be united around the concept of the Fire of God. This is in the first place the fire of Judgement which burns out sin, but spares the righteous. Fire is naturally associated with the Divine because it causes a similar attitude: love mixed with fear. The image-paradigm of the Fire of God pervades the Christian tradition. It is associated in particular with liturgical fire. According to Dionisius Areopagite, fire is a visible image of ineffable Divine qualities. It is not only “God’s servant” but also the symbol of his eternal life and of the deification of man. The Fire of God is experienced by mystics as the “fire of love” which destroys the “otherness” of the soul and unites it with God. In the Byzantine iconography of the Theotokos of the Burning Bush, the Incarnation is presented as a fiery theophany where the Virgin receives the Fire of God within her human nature. The image of fire also has an important liturgical aspect: the Holy Communion in the Eastern Church is understood as partaking of the Fire of God. <br /><br />This is a 5-page English summary of a full paper published in Russian. The full paper contains a complete table of Biblical references to fire (around 400)</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/26430506" 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="c1fe4cbccaf665f06611f6eaf070008a" rel="nofollow" data-download="{"attachment_id":46727793,"asset_id":26430506,"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/46727793/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="2572982" href="https://independent.academia.edu/AndrewSimsky">Andrew Simsky</a><script data-card-contents-for-user="2572982" type="text/json">{"id":2572982,"first_name":"Andrew","last_name":"Simsky","domain_name":"independent","page_name":"AndrewSimsky","display_name":"Andrew Simsky","profile_url":"https://independent.academia.edu/AndrewSimsky?f_ri=869","photo":"https://0.academia-photos.com/2572982/20581401/20197874/s65_andrew.simsky.jpg"}</script></span></span></li><li class="js-paper-rank-work_26430506 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26430506"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26430506, container: ".js-paper-rank-work_26430506", }); 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This is in the first place the fire of Judgement which burns out sin, but spares the righteous. Fire is naturally associated with the Divine because it causes a similar attitude: love mixed with fear. The image-paradigm of the Fire of God pervades the Christian tradition. It is associated in particular with liturgical fire. According to Dionisius Areopagite, fire is a visible image of ineffable Divine qualities. It is not only “God’s servant” but also the symbol of his eternal life and of the deification of man. The Fire of God is experienced by mystics as the “fire of love” which destroys the “otherness” of the soul and unites it with God. In the Byzantine iconography of the Theotokos of the Burning Bush, the Incarnation is presented as a fiery theophany where the Virgin receives the Fire of God within her human nature. The image of fire also has an important liturgical aspect: the Holy Communion in the Eastern Church is understood as partaking of the Fire of God. \n\nThis is a 5-page English summary of a full paper published in Russian. The full paper contains a complete table of Biblical references to fire (around 400)","downloadable_attachments":[{"id":46727793,"asset_id":26430506,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2572982,"first_name":"Andrew","last_name":"Simsky","domain_name":"independent","page_name":"AndrewSimsky","display_name":"Andrew Simsky","profile_url":"https://independent.academia.edu/AndrewSimsky?f_ri=869","photo":"https://0.academia-photos.com/2572982/20581401/20197874/s65_andrew.simsky.jpg"}],"research_interests":[{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":1302,"name":"Theology","url":"https://www.academia.edu/Documents/in/Theology?f_ri=869","nofollow":true},{"id":4263,"name":"Christian Mysticism","url":"https://www.academia.edu/Documents/in/Christian_Mysticism?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":10946,"name":"Biblical Theology","url":"https://www.academia.edu/Documents/in/Biblical_Theology?f_ri=869"},{"id":12363,"name":"Sacred (Religion)","url":"https://www.academia.edu/Documents/in/Sacred_Religion_?f_ri=869"},{"id":14639,"name":"Byzantine Iconography","url":"https://www.academia.edu/Documents/in/Byzantine_Iconography?f_ri=869"},{"id":31664,"name":"Medieval Mysticism","url":"https://www.academia.edu/Documents/in/Medieval_Mysticism?f_ri=869"},{"id":36686,"name":"Orthodox Christianity","url":"https://www.academia.edu/Documents/in/Orthodox_Christianity?f_ri=869"},{"id":62200,"name":"Hierotopy","url":"https://www.academia.edu/Documents/in/Hierotopy?f_ri=869"},{"id":137279,"name":"Sacred Space","url":"https://www.academia.edu/Documents/in/Sacred_Space?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_2766098" data-work_id="2766098" 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/2766098/Myths_and_motifs_as_reflections_of_prehistoric_cosmic_events_some_methodological_considerations">Myths and motifs as reflections of prehistoric cosmic events: some methodological considerations</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 last three decades have seen a growing awareness that the planet Earth and human civilizations might be much more threatened by extraterrestrial objects than previously thought. It has been suggested on many occasions that the course... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2766098" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The last three decades have seen a growing awareness that the planet Earth and human civilizations might be much more threatened by extraterrestrial objects than previously thought. It has been suggested on many occasions that the course of human prehistory has been remarkably shaped by big meteorite impacts, airbursts of meteoroids, or the load of the atmosphere with cosmic dust. Myths and motifs are interpreted to encode information of such events. This article brings to the fore a series of essential methodological steps which may strengthen such interpretations.</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/2766098" 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="ab5ef1711bf86c7cf9a338478a87029d" rel="nofollow" data-download="{"attachment_id":36620451,"asset_id":2766098,"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/36620451/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="3300839" href="https://independent.academia.edu/BarbaraRappenglueck">Barbara Rappenglueck</a><script data-card-contents-for-user="3300839" type="text/json">{"id":3300839,"first_name":"Barbara","last_name":"Rappenglueck","domain_name":"independent","page_name":"BarbaraRappenglueck","display_name":"Barbara Rappenglueck","profile_url":"https://independent.academia.edu/BarbaraRappenglueck?f_ri=869","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_2766098 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2766098"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2766098, container: ".js-paper-rank-work_2766098", }); 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It has been suggested on many occasions that the course of human prehistory has been remarkably shaped by big meteorite impacts, airbursts of meteoroids, or the load of the atmosphere with cosmic dust. Myths and motifs are interpreted to encode information of such events. 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Methodology)","url":"https://www.academia.edu/Documents/in/Hermeneutics_Research_Methodology_?f_ri=869","nofollow":true},{"id":3834,"name":"Rock Art (Archaeology)","url":"https://www.academia.edu/Documents/in/Rock_Art_Archaeology_?f_ri=869"},{"id":4514,"name":"Comets","url":"https://www.academia.edu/Documents/in/Comets?f_ri=869"},{"id":5114,"name":"Hermeneutics","url":"https://www.academia.edu/Documents/in/Hermeneutics?f_ri=869"},{"id":5346,"name":"Archaeological Method \u0026 Theory","url":"https://www.academia.edu/Documents/in/Archaeological_Method_and_Theory?f_ri=869"},{"id":7370,"name":"Symbolism","url":"https://www.academia.edu/Documents/in/Symbolism?f_ri=869"},{"id":8618,"name":"Natural Hazards","url":"https://www.academia.edu/Documents/in/Natural_Hazards?f_ri=869"},{"id":13202,"name":"Symbology","url":"https://www.academia.edu/Documents/in/Symbology?f_ri=869"},{"id":13731,"name":"Archaeoastronomy","url":"https://www.academia.edu/Documents/in/Archaeoastronomy?f_ri=869"},{"id":16829,"name":"Biblical Archaeology","url":"https://www.academia.edu/Documents/in/Biblical_Archaeology?f_ri=869"},{"id":23080,"name":"Geomythology","url":"https://www.academia.edu/Documents/in/Geomythology?f_ri=869"},{"id":28977,"name":"Comparative mythology","url":"https://www.academia.edu/Documents/in/Comparative_mythology?f_ri=869"},{"id":34817,"name":"Prehistory","url":"https://www.academia.edu/Documents/in/Prehistory?f_ri=869"},{"id":36190,"name":"Cultural Astronomy","url":"https://www.academia.edu/Documents/in/Cultural_Astronomy?f_ri=869"},{"id":41309,"name":"Myth","url":"https://www.academia.edu/Documents/in/Myth?f_ri=869"},{"id":41774,"name":"Prehistoric Rock 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u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3894841/The_Serpent_Series_Precession_in_the_Maya_Dresden_Codex">The Serpent Series: Precession in the Maya Dresden Codex</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 Postclassic Maya Dresden Codex contains extensive astronomical records in the form of calendrical and chronological intervals concerning multiple cycles of the sun, the moon, and several visible planets. Hermann Beyer (1943) first... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3894841" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Postclassic Maya Dresden Codex contains extensive astronomical records in the form of calendrical and chronological intervals concerning multiple cycles of the sun, the moon, and several visible planets. Hermann Beyer (1943) first demonstrated that a sequence of unusually long intervals of time found within the Dresden Codex describe specific dates separated by intervals of over 30,000 years. Beyer first named this sequence the Serpent Series because its component numerals are written within the coils of undulating serpents. This dissertation project examines the Serpent Series in detail, beginning with a new interpretation of the initial repeated distance number on pages 61 and 69. This unique interval of more than 15,000 years is almost exactly a whole multiple of the sidereal year, returning the sun to precisely the same position against the background of stars, while the position in the tropical year shifts dramatically. Such an accurate calculation suggests that the Maya were observing and recording the precession of the equinoxes. Because it takes approximately seventy-one years for the annual sidereal position of the sun to shift by one day of precession, an accurate calculation of precession requires hundreds of years of recorded observations. The remainder of the dates in the Serpent Series strongly support this proposal, demonstrating not only repeating sidereal positions of the sun over tens of thousands of years, but also an extensive knowledge of lunar motion, eclipse cycles, and planetary cycles of Mars, Saturn, and Venus that are comparable to current measurements. Furthermore, the data contained within the Serpent Series can be used to reconstruct the means used by the Maya to calculate precession. Namely, Maya astronomers recorded their observations of the sidereal position of total lunar eclipses at fixed points within the tropical year. These observations can be compared to those of Hipparchus, who first recorded the precession of the equinoxes in ancient Greece. However, the values calculated for precession within the Serpent Series are far more accurate than those of their contemporaries, surpassed only by Tycho Brahe and Johannes Kepler in the late sixteenth century.</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/3894841" 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="84028e729b1b0a372f50231a920e82fb" rel="nofollow" data-download="{"attachment_id":31518950,"asset_id":3894841,"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/31518950/download_file?st=MTc0MDE1MTc0NSw4LjIyMi4yMDguMTQ2&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="4362815" href="https://scc-losrios.academia.edu/MichaelGrofe">Michael Grofe</a><script data-card-contents-for-user="4362815" type="text/json">{"id":4362815,"first_name":"Michael","last_name":"Grofe","domain_name":"scc-losrios","page_name":"MichaelGrofe","display_name":"Michael Grofe","profile_url":"https://scc-losrios.academia.edu/MichaelGrofe?f_ri=869","photo":"https://0.academia-photos.com/4362815/1759811/17793550/s65_michael.grofe.jpg"}</script></span></span></li><li class="js-paper-rank-work_3894841 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3894841"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3894841, container: ".js-paper-rank-work_3894841", }); 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Hermann Beyer (1943) first demonstrated that a sequence of unusually long intervals of time found within the Dresden Codex describe specific dates separated by intervals of over 30,000 years. Beyer first named this sequence the Serpent Series because its component numerals are written within the coils of undulating serpents. This dissertation project examines the Serpent Series in detail, beginning with a new interpretation of the initial repeated distance number on pages 61 and 69. This unique interval of more than 15,000 years is almost exactly a whole multiple of the sidereal year, returning the sun to precisely the same position against the background of stars, while the position in the tropical year shifts dramatically. Such an accurate calculation suggests that the Maya were observing and recording the precession of the equinoxes. Because it takes approximately seventy-one years for the annual sidereal position of the sun to shift by one day of precession, an accurate calculation of precession requires hundreds of years of recorded observations. The remainder of the dates in the Serpent Series strongly support this proposal, demonstrating not only repeating sidereal positions of the sun over tens of thousands of years, but also an extensive knowledge of lunar motion, eclipse cycles, and planetary cycles of Mars, Saturn, and Venus that are comparable to current measurements. Furthermore, the data contained within the Serpent Series can be used to reconstruct the means used by the Maya to calculate precession. Namely, Maya astronomers recorded their observations of the sidereal position of total lunar eclipses at fixed points within the tropical year. These observations can be compared to those of Hipparchus, who first recorded the precession of the equinoxes in ancient Greece. However, the values calculated for precession within the Serpent Series are far more accurate than those of their contemporaries, surpassed only by Tycho Brahe and Johannes Kepler in the late sixteenth century.","downloadable_attachments":[{"id":31518950,"asset_id":3894841,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4362815,"first_name":"Michael","last_name":"Grofe","domain_name":"scc-losrios","page_name":"MichaelGrofe","display_name":"Michael Grofe","profile_url":"https://scc-losrios.academia.edu/MichaelGrofe?f_ri=869","photo":"https://0.academia-photos.com/4362815/1759811/17793550/s65_michael.grofe.jpg"}],"research_interests":[{"id":392,"name":"Archaeology","url":"https://www.academia.edu/Documents/in/Archaeology?f_ri=869","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=869","nofollow":true},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=869","nofollow":true},{"id":10088,"name":"History of Astronomy","url":"https://www.academia.edu/Documents/in/History_of_Astronomy?f_ri=869","nofollow":true},{"id":13731,"name":"Archaeoastronomy","url":"https://www.academia.edu/Documents/in/Archaeoastronomy?f_ri=869"},{"id":16869,"name":"Classic Maya (Archaeology)","url":"https://www.academia.edu/Documents/in/Classic_Maya_Archaeology_?f_ri=869"},{"id":17715,"name":"Maya Archaeology","url":"https://www.academia.edu/Documents/in/Maya_Archaeology?f_ri=869"},{"id":27257,"name":"Maya Epigraphy","url":"https://www.academia.edu/Documents/in/Maya_Epigraphy?f_ri=869"},{"id":47599,"name":"Astronomy","url":"https://www.academia.edu/Documents/in/Astronomy?f_ri=869"},{"id":221849,"name":"Mesoamerican Studies","url":"https://www.academia.edu/Documents/in/Mesoamerican_Studies?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_38725050" data-work_id="38725050" 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/38725050/2019_New_identifications_of_Heroes_and_Heroines_on_the_West_Pediment_of_the_Parthenon_The_case_of_P_Q_and_R_in_R_Morais_et_al_eds_Greek_Art_in_Motion_Conference_in_Honour_of_Sir_John_Boardman_on_the_occasion_of_his_90th_Birthday_Oxford_480_488">2019. “New identifications of Heroes and Heroines on the West Pediment of the Parthenon: The case of P, Q and R” in R. Morais et al (eds) Greek Art in Motion: Conference in Honour of Sir John Boardman on the occasion of his 90th Birthday. 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First exhibited in New York in 1971, what has come to be known as the Grolier Codex is half of a 20-page,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11295486" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The fourth known pre-Columbian Maya codex, the only one discovered in the twentieth century, was found by looters in the mid-1960s. First exhibited in New York in 1971, what has come to be known as the  Grolier Codex is half of a 20-page, 104-year divinatory hybrid-style Mesoamerican Venus Almanac, probably the physically oldest surviving pre-Columbian book, and with new radiocarbon dates that place it in the thirteenth century CE. It is likely to be the oldest surviving book on paper from the Americas as well as the only ancient Maya codex now residing in Mexico. Although most Mayanists have accepted it as authentic, based in part on the author’s 40 years of research, it remains an unacknowledged Mexican national treasure, as it has never been officially recognized. Mesoamerican Venus Almanacs were widely used in pre-Columbian Mesoamerica to regulate practices of sacred warfare, the goal of which was to obtain captives for sacrifice, their blood shed to invoke the personified forces of rain and fertility. The  Codex offers unique images of 10 of the 20 manifestations of Venus, greatly enriching our knowledge of these traditions. The present study offers a brief history of accounts of the discovery of the Codex and allegedly associated artifacts; presents a documented photographic history; outlines the author’s comprehensive program of research, including several new scientific discoveries; and offers a new Latinized name that recognizes that the Codex Mayano-Mexicanus is an authentic ancient book deriving from the Maya culture and now properly residing in Mexico. <br /> <br /> <br />***** <br />This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.</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/11295486" 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="8ad97938f8b85b2a43fea53435dfbf92" rel="nofollow" data-download="{"attachment_id":36872843,"asset_id":11295486,"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/36872843/download_file?st=MTc0MDE1MTc0Niw4LjIyMi4yMDguMTQ2&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="2267026" href="https://umd.academia.edu/JohnBCarlson">John B Carlson</a><script data-card-contents-for-user="2267026" type="text/json">{"id":2267026,"first_name":"John","last_name":"Carlson","domain_name":"umd","page_name":"JohnBCarlson","display_name":"John B Carlson","profile_url":"https://umd.academia.edu/JohnBCarlson?f_ri=869","photo":"https://0.academia-photos.com/2267026/2964703/3476006/s65_john_b..carlson.jpg"}</script></span></span></li><li class="js-paper-rank-work_11295486 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11295486"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11295486, container: ".js-paper-rank-work_11295486", }); 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First exhibited in New York in 1971, what has come to be known as the Grolier Codex is half of a 20-page, 104-year divinatory hybrid-style Mesoamerican Venus Almanac, probably the physically oldest surviving pre-Columbian book, and with new radiocarbon dates that place it in the thirteenth century CE. It is likely to be the oldest surviving book on paper from the Americas as well as the only ancient Maya codex now residing in Mexico. Although most Mayanists have accepted it as authentic, based in part on the author’s 40 years of research, it remains an unacknowledged Mexican national treasure, as it has never been officially recognized. Mesoamerican Venus Almanacs were widely used in pre-Columbian Mesoamerica to regulate practices of sacred warfare, the goal of which was to obtain captives for sacrifice, their blood shed to invoke the personified forces of rain and fertility. The Codex offers unique images of 10 of the 20 manifestations of Venus, greatly enriching our knowledge of these traditions. The present study offers a brief history of accounts of the discovery of the Codex and allegedly associated artifacts; presents a documented photographic history; outlines the author’s comprehensive program of research, including several new scientific discoveries; and offers a new Latinized name that recognizes that the Codex Mayano-Mexicanus is an authentic ancient book deriving from the Maya culture and now properly residing in Mexico.\r\n\r\n\r\n***** \r\nThis article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D. The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex. 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