Journal articles: 'Apotropaics'

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Many, Seth. "Apotropaics and cow chips: CD-ROM on the range." Computers in Human Behavior 10, no. 4 (December 1994): 605–7. http://dx.doi.org/10.1016/0747-5632(94)90050-7.

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Bill, Jan. "Protecting Against the Dead? On the Possible Use of Apotropaic Magic in the Oseberg Burial." Cambridge Archaeological Journal 26, no. 1 (February 2016): 141–55. http://dx.doi.org/10.1017/s0959774315000438.

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The use of apotropaic practices, that is, of magic to protect against evil, is sometimes included in archaeological interpretations on the basis of similarities between archaeological objects and objects used in historically documented or present-day apotropaic practices. The present article attempts to develop the archaeological study of apotropaism by focussing on apotropaic ritual, in addition to apotropaic devices. The case study is a burial in ad 834 of a high-ranking Viking Age woman in the Norwegian Oseberg ship grave. Drawing on cognitive magic ritual theory, the study focuses on identifying both a repeated ritual core and a counter-intuitive, magic element in the series of actions that led to the deposition of five elaborately carved wooden animal heads in the burial, each combined with a rattling device probably related to horse driving. The study demonstrates that apotropaism provides a viable explanation for this rather puzzling aspect of the burial. In a wider perspective it emphasizes the importance of the contextual, in addition to the functional, interpretation of objects in graves. It also suggests that the use of animal figures and animal style in Viking Age artwork may have been more intimately connected with apotropaic beliefs than previously suggested.

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Snijdelaar, Tosca. "Venus Figurines." Anthropos 118, no. 1 (2023): 197–210. http://dx.doi.org/10.5771/0257-9774-2023-1-197.

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Following studies that uncovered an apotropaic meaning and function of Venus figurines, for which a basis was found in bodily processes, this article examines apotropaic iconography from the end of the Late Upper Paleolithic to the Mesolithic in northern Europe. The research focuses on the Venus of Geldrop, while the retoucher from Linne is briefly discussed. These artefacts are compared to artefacts from northern and southern Europe. The apotropaic message of Venus figurines lost its form after the Magdalenian. This is the result of cultural changes caused by the receding of the ice and the ecological, technological, and social instability that accompanied it. This study proposes a substantive continuity of the apotropaic message, embodied by the accentuated vulva of female representations. Triangles and loincloths as “form euphemism” are also carriers of this message. [apotropaism, Venus figurines, vulva, loincloth and triangle as apotropaic form euphemism, cultural transition Upper Paleolithic to Mesolithic]

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Guerra, Tupá. "Escrevendo orações: linguagens apotropaicas nos Manuscritos do Mar Morto." Revista Archai, no. 32 (June 18, 2022): e03221. http://dx.doi.org/10.14195/1984-249x_32_21.

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O problema de como se proteger do mal é um tema recorrente em diversos períodos históricos e sociedades. Textos apotropaicos judaicos, particularmente no período do Segundo Templo, trazem uma variedade de linguagens associadas com proteção. Esse artigo mapeia as diferentes linguagens apotropaicas descritas nos Manuscritos do Mar Morto, com enfoque para o uso da escrita como forma de registrar e preservar orações.

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Barrios, Barclay, and Andrew Hudnall. "Apotropaic." Pedagogy 20, no. 2 (April 1, 2020): 271–78. http://dx.doi.org/10.1215/15314200-8091886.

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The authors argue that violence is the most important issue facing the profession of English now. Tracing their experiences with violence and trauma in and near their classrooms, they suggest that, while this problem seems intractable, practicing the arts of empathy and writing offers some hope for a different future.

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Endoltseva, Ekaterina. "Snake and fish in the architectural decoration of the Christian the churches in Caucasus in medieval period: some observations." St. Tikhons' University Review. Series V. Christian Art 47 (September 30, 2022): 34–52. http://dx.doi.org/10.15382/sturv202247.34-52.

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The article deals with the images of fish and snake in the architectural decoration of the Christian churches in Caucasus in 10 – 14 centuries. The theme of the dragon fighters is not in the focus of the research. The research is dedicated to the images of snake (without paws and fangs, in contrast to dragon-snake) when represented in heraldic position, in the scenes of the prophet Jonas devoured by the sea-monster and in isolated position. It is also dedicated to the image of the fish. The earliest representations of the snakes and dragon-snakes appear on the facades of the Christian churches in Caucasus as early as the Xth century on the territory of the Northern Caucasus and Georgia. Later they are turned in hybrid creatures, dragon-snake (with paws and fangs, sometimes covered with fish scales). Two heads of snake on the earliest representations as well as cirсles on its body underline the apotropaic meaning of the image. The appearance of the snake (not the dragon-snake) on the territory in question could be explained by the influence of the local archaeological culture (Cobano-Colchis). Being represented on the facades of the Christian churches they function as apotropaia. The appearance of the isolated images of fishes in the architectural decoration could also be influenced by the local archaeological culture. The way of the sketching the scales on its body (on the relief from Anacopia) proves its biological identification as trout (the widest spread fish in the mountains of Caucasus). The image of the fish carved on the facades of the Christian churches could also have apotropaic function.

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Paulo Abreu Funari, Pedro, and Renata Senna Garraffoni. "Grafites apotropaicos e materialidade." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 7, no. 2 (August 3, 2023): 19–42. http://dx.doi.org/10.34024/herodoto.2022.v7.15467.

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Construído a partir das teorias arqueológicas pós-coloniais e de um estudo anterior sobre grafites apotropaicos de um dos autores, neste artigo discutimos a importância de deste corpus de grafites como fonte para um estudo de gênero sobre o cotidiano romano. O objetivo deste artigo é, portanto, distinto do que o inspirou, mudando a perspectiva para a importância do espaço da escrita para repensar a identidade romana no início do Principado. Argumentaremos que espaços da escrita, quando analisados a partir de sua materialidade, se torna evidência para a discussão de conflitos sociais, identidade e diversidade na sociedade romana. Também permitem uma leitura mais balanceada do Império, levando em consideração as diferentes visões de mundo das pessoas de origem humilde.

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Aneiros-Fernández, Jose, Luis Requena, Isabel Dulcey, and Francisco F. Nogales. "Finding Apotropaic Images in Dermatopathology." International Journal of Surgical Pathology 21, no. 2 (March 20, 2013): 147–48. http://dx.doi.org/10.1177/1066896912473356.

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Snijdelaar, Tosca. "The Apotropaic Phallus. Materialisation of a Human Biological Process." Anthropos 119, no. 1 (2024): 199–218. http://dx.doi.org/10.5771/0257-9774-2024-1-199.

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This article focuses on the apotropaic function and meaning of the erect phallus. The simultaneous experience of fear or anxiety and the attainment of a (non-sexual) erection may have led to the attribution of apotropaic properties to the penis. There are several possible physiological explanations for this phenomenon that are discussed. Since great apes have a socio-sexual communication repertoire that closely resembles that of Homo sapiens, I assume that it is a phenomenon that can be traced back to the common ancestor. Given the age of the apotropaic function and significance of the male genital, a course of development is outlined that provides insight into how the apotropaic phallus reached the Upper Paleolithic in behaviour, rituals and/or myths. About 125 phallic artefacts from the Upper Paleolithic are known. By the context in which they were found or how they were created, they confirm Dissanayake’s artification theory.

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Serra, Ordep. "À luz da tragédia: Édipo e o apotropaico." Mana 11, no. 2 (October 2005): 545–76. http://dx.doi.org/10.1590/s0104-93132005000200009.

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Focalizando as tragédias sofocleanas Rei Édipo e Édipo em Colono, mas considerando também outras versões e documentos iconográficos relativos ao mito de Édipo, busca-se evidenciar que a noção do apotropaico desempenha, nesse contexto, um papel significativo. Sugere-se que as crenças e as práticas nas quais este valor se exprime têm raízes no plano mais profundo de uma cosmovisão tradicional dos helenos: têm a ver com idéias sobre o destino e com categorias fundamentais do pensamento religioso dos gregos. Sustenta-se que o código do apotropaico tem na magia (domínio ao qual inúmeros estudos tendem a cingi-lo), apenas uma de suas expressões, cuja interpretação depende da análise de outros discursos da cultura grega. Na encenação da história de Édipo, a tragédia evidencia com singular clareza o sentido mais profundo do apotropaico.

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Taussig, Michael. "The Corn-Wolf: Writing Apotropaic Texts." Critical Inquiry 37, no. 1 (September 2010): 26–33. http://dx.doi.org/10.1086/656467.

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Lange, Armin. "The Shema Israel in Second Temple Judaism." Journal of Ancient Judaism 1, no. 2 (May 6, 2010): 207–14. http://dx.doi.org/10.30965/21967954-00102009.

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The Halbturn amulet reads the Shema Israel as a monotheistic statement and uses the text of Deut 6:4 for apotropaic purposes. This article shows that the monotheistic interpretation of the Shema became prominent in Egyptian Judaism due to apologetic needs and became the dominant understanding of Deut 6:4 in Judean Judaism at the latest by the first century C. E. The Qumran Mezuzot mark the beginning of the Shema’s apotropaic employment in late Second Temple times.

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easton, timothy. "Church Apotropaic Symbols and Marks Of Piety." Material Religion 11, no. 4 (October 2, 2015): 575–77. http://dx.doi.org/10.1080/17432200.2015.1103506.

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Caliva, Kathryn. "Speech Acts and Embedded Narrative Structure in the Getty Hexameters." Archiv für Religionsgeschichte 17, no. 1 (December 1, 2016): 139–64. http://dx.doi.org/10.1515/arege-2015-0009.

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Abstract The Getty Hexameters are an enigmatic text that reveals a conception of the pragmatic force underlying mythic narratives. Although some scholars have concluded that the text is a composite of multiple spells, this paper argues for reading the text as a unified narrative marked by a hierarchy of authoritative speech acts that draw on the authority of three apotropaic divinities: Paean, Hecate, and Heracles. These layers of narrative acts follow a sequence of revelation, mythological analogy, and aitiology, all of which come together to demonstrate the efficacy of the text as an apotropaic charm.

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Neira Jiménez, Luz. "Océano en los mosaicos romanos. A propósito de un pavimento de Colonia Patricia[1]." Anales de Arquelogía Cordobesa 29 (January 11, 2019): 157–76. http://dx.doi.org/10.21071/aac.v29i0.10876.

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Sin duda el carácter apotropaico de la representación de Océano influyó decisivamente en el protagonismo de su imagen en los mosaicos romanos, variando no obstante su papel en el campo musivo, como figura principal o secundaria, su propia representación, el tipo de escena y, en estrecha relación con estos aspectos, los miembros restantes de la composición.En virtud de estas características, se ha podido establecer la conexión entre mosaicos de diferentes áreas y, a este respecto, las influencias itálicas, orientales o norteafricanas en las representaciones documentadas en los mosaicos hispanos. En esta línea, es preciso destacar las peculiaridades que presenta un pavimento de Colonia Patricia, en concreto su composición y los miembros de su thiasos, no solo de carácter marino, de estudio inédito.ABSTRACTUndoubtedly the apotropaic character of the Ocean’s representation decisively influenced the prominence of its image in the Roman mosaics, varying however its role in the field mosaic, as main or secondary figure, its own representation, the type of scene and, in close relationship with these aspects, the remaining members of the composition.By virtue of these characteristics, it has been possible to establish the connection between mosaics of different areas and, in this respect, the italic, oriental or North African influences in the representations documented in the Hispanic mosaics. In this line, it is necessary to highlight the singularities that a pavement of Colonia Patricia presents, in particular, the composition and the members of his thiasos, not only of marine carácter, of unpublished study. Keywords: Ocean, roman mosaics, thiasos Colonia Patricia.[1] Este trabajo se inscribe en el Proyecto de Investigación de I+D+i “Patrimonio Arqueológico, Nuevas Tecnologías, Turismo, Educación y Rentabilización Social: un nexo necesario para el yacimiento rural (PATTERN)” de la convocatoria Retos de la Sociedad 2015 - HAR2015-68059-C2-2-R, financiado por el Ministerio de Economía y Competitividad (MINECO, FEDER, UE) y del que soy IP en la Universidad Carlos III de Madrid.

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Wilson, Philip. "Trespassers Will Be Charmed on Sight." Religion and Theology 30, no. 3-4 (December 20, 2023): 337–56. http://dx.doi.org/10.1163/15743012-bja10063.

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Abstract In this article, I present an interpretation of violent episodes in the pastoral poetry of the third-century Latin author, Nemesianus. Drawing on comparison to depictions of sexual violence on apotropaic amulets and art, I argue that Nemesianus intended his own poetry to showcase the apotropaic power of pastoral songs and pastoral books. In so doing, Nemesianus continues a tradition of ancient pastoral authors who expended considerable effort to compare their hexameters and themselves to magical spells and practitioners of magic. I conclude with some thoughts on the Good Shepherd motif on sarcophagi roughly contemporary with Nemesianus.

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Gomes, Pedro Augusto. "Bes - Poderes mágicos e apotropaicos, ascensão e queda." Revista de Estudos Filosóficos e Históricos da Antiguidade 40 (June 30, 2023): e023003. http://dx.doi.org/10.53000/cpa.v40i00.17916.

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Este artigo tem como objetivo explorar a figura de Bes, uma antiga deidade egípcia que era venerada como protetor de crianças, mulheres durante o parto e do sono. A imagem de Bes é frequentemente associada a características anãs ou leoninas, como uma careta enrugada, língua protuberante, barba, cabelo comprido, orelhas arredondadas e pernas ligeiramente dobradas. Além disso, a conexão de Bes com a fertilidade é representada em algumas imagens que incluem seios pendentes. A figura de Bes foi significativa na religião popular do antigo Egito, e, sua imagem era frequentemente usada como dispositivo de proteção ou decoração em objetos relacionados ao cuidado infantil, parto, sexo e sono. Além disso, Bes era uma divindade importante para consulta oracular no período greco-romano, e, seu oráculo em Abidos era um local popular de peregrinação. Este artigo por fim, visa apresentar uma visão geral da figura de Bes, destacando sua importância na religião e cultura do antigo Egito.

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Snijdelaar, Tosca. "Venus Figurines." Anthropos 116, no. 1 (2021): 177–86. http://dx.doi.org/10.5771/0257-9774-2021-1-177.

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In this article, the working of certain bodily processes is presented as the basis for the apotropaic meaning and function of the genitals of the Upper Palaeolithic Venus Figurines. The working of the sympathetic nervous system is identified as the cause of genital arousal due to anxiety. The simultaneous experience of anxiety and the engorgement of the labia and clitoris led to an apotropaic meaning, in addition to a sexual meaning, being assigned to the genitals during the Palaeolithic Era. The ability to think in symbols, which was developing greatly at this time, led to that which could be experienced in bodies being transferred to Venus Figurines.

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Krause, Andrew R. "Protected Sects." Journal of Ancient Judaism 5, no. 1 (May 14, 2014): 25–39. http://dx.doi.org/10.30965/21967954-00501003.

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As the self-proclaimed “Sons of Light,” the Qumran Movement became obsessed with their battle against the forces of evil, allowing this polarity to pervade their literature. This paper will compare two sectarian apotropaic liturgies (4QSongs of the Maskila–b and 4QIncantation) with the Hodayot psalms in terms of function and ritual performance. We will demonstrate that the same prophylactic elements that unite the apotropaic texts are present in the Hodayot, especially their “magical” elements, demonology, anthropology, and sapiential elements used for defense against evil spirits. While examples will be drawn broadly, we will conclude with a case study of the hymn of 1QHa IV.

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Khairedinova, Elzara. "Jewelry Apotropaia in a Female Costume of the Crimean Goths." Stratum plus. Archaeology and Cultural Anthropology, no. 4 (August 2022): 225–50. http://dx.doi.org/10.55086/sp224225250.

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In the early Middle Ages, the Crimean Goths had jewelry that were endowed with apotropaic or healing properties: hollow jewelry — containers for amulets (cylindrical cases, bulla pendants, earrings with a polyhedron); bells, the ringing of which was believed to ward off evil spirits; composite “noisy” metal pendants with a core of wood, walnut or fruit stone; “brooch” necklaces with large beads and unusual pendants. The article characterizes these objects, identifies a group of analogies, and determines their purpose on the basis of written sources and ethnographic data. On the basis of the state of objects recorded in situ in the burials, a costume with apotropaic decorations is reconstructed.

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Schwemer, Daniel. "Evil Witches, Apotropaic Plants and the New Moon." Die Welt des Orients 41, no. 2 (October 2011): 177–90. http://dx.doi.org/10.13109/wdor.2011.41.2.177.

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Kosior, Wojciech. "“Like a Throne of Glory:” The Apotropaic Potential of Ṣîṣîṯ in the Hebrew Bible and Early Rabbinic Literature." Review of Rabbinic Judaism 21, no. 2 (July 27, 2018): 176–201. http://dx.doi.org/10.1163/15700704-12341342.

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AbstractAlthough at first glanceṣîṣîṯmeet the definitional criteria of an amulet, there are just three passages in the early rabbinic literature that only indirectly suggest such an interpretation. Yet, as it turns out, the tassels feature strong connections with the priestly clothes, and given the protective role played by the latter inside the Tabernacle,ṣîṣîṯcan be interpreted as a lay functional equivalent of the sacerdotal garment. The present paper has three main purposes: first, to scrutinize the passages from B. Men. (41a, 43b and 44a) that are often taken as witnessing to the apotropaic function of fringes; second, to contextualize tassels in the network of the priestly objects:teḵēlęṯ, ša‘aṭnēzandṣîṣ; third, to advance a hypothesis regarding the implicit apotropaic potential ofṣîṣîṯ.

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Watanabe, Chikako E. "THE SYMBOLIC ROLE OF ANIMALS IN BABYLON: A CONTEXTUAL APPROACH TO THE LION, THE BULL AND THE MUŠḪUŠŠU." Iraq 77 (December 2015): 215–24. http://dx.doi.org/10.1017/irq.2015.17.

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This paper examines the meaning of three animals—the lion, the bull, and the mušḫuššu-dragon—as depicted on the walls of the Ishtar Gate and Processional Way at Babylon. These animals embody multiple layers of meaning but are associated with specific deities and all possess apotropaic qualities. The animals served traditionally as guardian figures placed at the entrances to Mesopotamian temples and palaces. This study focuses on their apotropaic roles which are evoked by the specific architectural context in which the animals are placed. It is suggested that the images of these animals underscored the importance of both the Ishtar Gate and the Processional Way as a crucial route into the symbolic heart of the city.

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Voltan, Eleonora. "Sugestiones apotropaicas en las orillas del Nilo: La representación de los pigmeos con barritas en el repertorio iconográfico romano / Apotropaic Suggestions along the Nile: The representation of the pygmies with sticks in Roman iconography." Revista Internacional de Ciencias Humanas 8, no. 2 (May 29, 2019): 53–60. http://dx.doi.org/10.37467/gka-revhuman.v8.1979.

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ABSTRACTAmongst the rich and multifaceted landscape of images forged in the Ancient Roman world, the iconographies inspired by the land of the Pharaohs stand out for their originality. More specifically, the object of interest is represented by the nilotic images animated by pygmies equipped with sticks are of interest. The aim of this paper is to identify a semantic fil rouge of these specific nilotic models existing in the Mediterranean world between the I-III centuries d.C., examined through the classical literature and the archaeological sources. Finally, certain conclusions are obtained about the functionality as well as the meaning of the enigmatic sticks preserved to this day through the Roman artistic mirror.RESUMENDentro del rico y multiforme panorama de imágenes forjadas en el mundo romano, por su indudable originalidad destacan las iconografías inspiradas en la tierra de los faraones. Concretamente, suscitan interés las representaciones nilóticas animadas por pigmeos provistos de barritas. En el presente trabajo, el objetivo consiste en el identificar, basándose en el estudio de las fuentes clásicas y en las comparaciones iconográficas de las obras examinadas, un fil rouge semántico de estos específicos modelos nilóticos existentes en la cuenca mediterránea entre los siglos I-III d.C. Finalmente, se obtienen ciertas conclusiones acerca de la funcionalidad tanto como del significado de las enigmáticas barritas preservadas hasta nuestros días a través del espejo artístico romano.

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Kim, Jeong Hwan. "Căluş, Romanian Initiation Rite for Apotropaism." East European and Balkan Institute 43, no. 2 (May 25, 2019): 73–102. http://dx.doi.org/10.19170/eebs.2019.43.2.73.

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Papadaki, Christina. "Σκέψεις γύρω από την αποτροπαϊκή λειτουργία των ενεπίγραφων μινωικών κοσμημάτων." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas 37, no. 1 (2023): 49–58. http://dx.doi.org/10.25145/j.fortunat.2023.37.03.

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The article focuses on a small group of Minoan inscribed jewellery, examining the hypothesis that the written message they carry, and which is still unknown to us, reinforces their possible apotropaic function.

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Hagen. "Crux Christi Sit Mecum: Devotion to the Apotropaic Cross." Religions 10, no. 11 (October 30, 2019): 603. http://dx.doi.org/10.3390/rel10110603.

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A late medieval paper amulet containing prayers to St. Dorothy and the Holy Cross was found in a demolished part of a medieval wooden stave church in Torpo, Norway. This article examines the content and the function of this textual amulet by placing it in a wider Scandinavian and Western European context. From the perspective of materiality and sensory-based religious practices, this article will explore the connection between the textual amulet found in Torpo and its relation to the now-lost large wooden cross in Torpo church, and to crosses believed to be wonderworking or miraculous in its proximity. By doing so, this study will shed light on the apotropaic and healing potential that the material and immaterial cross offered the pious in late medieval Norway. The last part of this article addresses the Post-Reformation theological understanding of the amulet, and its use and function in Lutheran Norwegian society.

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Caple, Chris. "The Apotropaic Symbolled Threshold to Nevern Castle—Castell Nanhyfer." Archaeological Journal 169, no. 1 (January 2012): 422–52. http://dx.doi.org/10.1080/00665983.2012.11020920.

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Sütterlin, Christa. "Universals in Ritualized Genital Display of Apotropaic Female Figures." Human Ethology Bulletin 31, no. 1 (March 30, 2016): 30–46. http://dx.doi.org/10.22330/heb/311/030-046.

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Fröhlich, Ida. "Two Apotropaic Texts from the Jewish Museum of Budapest." Arabist: Budapest Studies in Arabic 9-10 (1994): 295–303. https://doi.org/10.58513/arabist.1994.9-10.17.

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The Old Testament tradition frowns on magic and belief in demons. However, despite all disapproval, the practice of magic has a long tradition in Jewish lore, from antiquity up to the present day. Beliefs in demons have been widely known since ancient times, together with various methods of magic used to avert the evil influence of demons. This paper presents two printed apotropaic texts concerning the warding off of demons from the Jewish Museum of Budapest. The texts, printed in Budapest on sheets of 9×15 cm at the beginning of the 20th century, were – according to Jewish tradition – to be placed in the window of women’s room in a childbed. This practice is believed to ward off demons that threaten mother and child.

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Velaza, Javier. "La Biblia sobre el tejado. En torno a los textos bíblicos inscritos en tegulae y lateres." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas, no. 32 (2020): 823–34. http://dx.doi.org/10.25145/j.fortunat.2020.32.52.

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This paper reviews the inscriptions made on tegulae or lateres with biblical texts and analyzes their function. Contrary to what has often been thought, these are not funeral inscriptions but rather apotropaic or consecratory..

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Pontin, Patrícia Boreggio do Valle. "Os troféus militares e a memória da guerra na Grécia antiga." Revista do Museu de Arqueologia e Etnologia, no. 19 (December 17, 2009): 221. http://dx.doi.org/10.11606/issn.2448-1750.revmae.2009.89885.

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Este trabalho tem por objetivo compreender como o estudo dos troféus militares, na Grécia, desde época arcaica, pode resgatar a presença de um rito militar destinado a eternizar a memória de uma batalha, além de fixar e controlar determinadas energias apotropaicas.

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Omran, Rasha. "Apotropaic Figures Based on Spell 182 in prt m hrw." International Journal of Heritage, Tourism and Hospitality 11, no. 1 (March 1, 2017): 48–74. http://dx.doi.org/10.21608/ijhth.2017.27865.

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Zubareva, Alyona V. "A LUNAR ECLIPSE AND AN APOTROPAIC NOISE IN ROMAN MAGIC." Journal of historical philological and cultural studies 1, no. 71 (March 31, 2021): 164–75. http://dx.doi.org/10.18503/1992-0431-2021-1-71-164-175.

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Henry, Andrew Mark. "Apotropaic Autographs: Orality and Materiality in the Abgar-Jesus Inscriptions." Archiv für Religionsgeschichte 17, no. 1 (December 1, 2016): 165–86. http://dx.doi.org/10.1515/arege-2015-0010.

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Abstract In this paper, I explore the late antique tradition of inscribing the Abgar-Jesus correspondence on stone for protection as attested by seven inscriptions from Greece, Asia Minor, Syria, and Egypt. I first argue that the correspondence’s perceived protective efficacy stems from its claim to preserve an autograph of Jesus. I then explore the implications of embedding such an autograph into an urban landscape. Drawing on recent research on the orality and materiality of epigraphy, I suggest that the epigraphic attestations of the Abgar-Jesus correspondence join in a broader tradition of deploying oral formulae to protect domestic and civic space from harm, and therefore, should be viewed as ritually powerful objects that were “performing” the correspondence at their respective liminal spaces.

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Funari, Pedro Paulo de Abreu. "Apotropaic symbolism at Pompeii: a reading of the graffiti evidence." Revista de História, no. 132 (June 30, 1995): 9. http://dx.doi.org/10.11606/issn.2316-9141.v0i132p9-17.

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Frankfurter, David. "Scorpion/Demon: On the Origin of the Mesopotamian Apotropaic Bowl." Journal of Near Eastern Studies 74, no. 1 (April 2015): 9–18. http://dx.doi.org/10.1086/679507.

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Angus, Bill. "The Apotropaic “Witch posts” of Early Modern Yorkshire: A Contextualization." Material Religion 14, no. 1 (January 2, 2018): 55–82. http://dx.doi.org/10.1080/17432200.2017.1418477.

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Perrot, Sylvain. "The Apotropaic Function of Music Inside the Sanctuaries of Asklepios." Greek and Roman Musical Studies 4, no. 2 (September 1, 2016): 209–30. http://dx.doi.org/10.1163/22129758-12341276.

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Music obviously played a strong role in ancient Greek ways of healing the human body. However, although scholars have studied some aspects, there still is no comprehensive enquiry on the relationships between music and sounds in Asclepios’ sanctuaries. The purpose of this paper is first to combine all the sources on the soundscape of famous and minor sanctuaries, and secondly to give some new perspectives on the specificity of Asclepian soundscapes. Is there any relationship between environmental sounds, anthropic sounds and cultic music, especially paeans? We may find some clues in the texts related to the cult of Asclepios but also in the archaeological evidence, because some votive offerings have been unearthed, like votive ears and musical instruments. By examining the soundscape of Asclepian sanctuaries, I would like eventually to ask especially whether the link between the musical performances and sounds could be understood as apotropaic.

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Pletosu, Victor. "Tradiția Milenară A Mărțișorului – Simbolul Regenerării Noastre Spirituale." Limba, literatura, folclor, no. 1 (July 2022): 83–90. http://dx.doi.org/10.52505/llf.2022.1.08.

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Mărțișorul este un obiect simbolic obținut prin răsucirea a 2 fire de lână, purtat la începutul primăverii în scopuri apotropaice și inaugurale, având menirea de a proteja purtătorul și de a-l înzestra cu virtuți. În contextul datinilor de la începutul lunii martie, la români, Mărțișorul se înscrie între practicile care mediază trecerea la un nou ciclu vital.

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De Luna, Simona, and Anna Maria Musilli. "Pulcinella: de los símbolos apotropaicos tradicionales a los usos terapéuticos contemporáneos." Inflexiones. Revista de Ciencias Sociales y Humanidades, no. 03 (January 25, 2019): 69. http://dx.doi.org/10.22201/udir.2954341xp.70.

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El ensayo, basado sobre la presencia y resignificación de Pulcinella en el mundo contemporáneo (que permiten que la máscara napolitana reviva y tome forma también en objetos napolitanos, prácticas anti encantamiento, representaciones terapéuticas y trabajo teatral y educativo con niños), resalta la capacidad de la máscara para renovarse y adaptarse a algunas circunstancias de la sociedad moderna. Además de su presencia en el mercado de objetos decorativos (donde la máscara encuentra un éxito sin precedentes, vinculado a sus connotaciones tradicionales de naturaleza apotropaica), la novedad más inesperada es su uso en algunas prácticas terapéuticas, documentado e ilustrado por primera vez en este trabajo. El elemento de continuidad entre los usos supersticiosos tradicionales y el nuevo uso clínico se identifica con el hecho de que la “superstición”, la psicología y la teatralización funcionan con instrumentos específicos sobre la misma materia psíquica para obtener resultados similares, pero cualitativamente diferentes.

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Veloso, Carmen Lage. "DISEÑOS APOTROPAICOS. UN ENSAYO DE ANTROPOLOGÍA SIMÉTRICAApotropaic Designs. An Essay of Symmetrical Anthropology." Res Mobilis 9, no. 10 (January 16, 2020): 170. http://dx.doi.org/10.17811/rm.9.10.2020.170-180.

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Algunos dispositivos retóricos han desempeñado, a lo largo de los tiempos, funciones de protección, advertencia, disuasión o fascinación. De fuerte componente abstracto, los patrones decorativos que se extienden por los paramentos, el mobiliario, los libros o los tejidos, se han relacionado, en numerosas ocasiones, con efectos apotropaicos. Como armas en potencia, estas sofisticadas trampas sirven indistintamente para la seducción y para la guerra.

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D'Encarnação, José. "A epigrafia como elemento didático (XXXV): a voz de Deus no lintel daquela porta." Boletim de Estudos Clássicos, no. 62 (December 29, 2017): 87–94. http://dx.doi.org/10.14195/2183-7260_62_6.

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Lê-se, interpreta-se e procura mostrar-se o alcance histórico de uma inscrição, gravada no lintel de uma porta, em zona tradicionalmente ocupada nos séculos XVI e seguintes por cristãos-novos. Trata-se de uma passagem do livro do profeta Habacuc, que assume aqui um carácter verdadeiramente apotropaico. Aproveita-se o ensejo para tecer considerações acerca da fidelidade das traduções.

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Walter, Christopher. "IC XC NI KA. The apotropaic Function of the victorious Cross." Revue des études byzantines 55, no. 1 (1997): 193–220. http://dx.doi.org/10.3406/rebyz.1997.1940.

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Strawbridge, Jennifer. "Early Christian Epigraphy, Evil, and the Apotropaic Function of Romans 8.31." Vigiliae Christianae 71, no. 3 (May 8, 2017): 315–29. http://dx.doi.org/10.1163/15700720-12341291.

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Epigraphic evidence offers an important and yet oft-neglected dimension to the history of biblical reception. One of the most curious cases of epigraphic incidence of a biblical text is the use of Romans 8.31. Within early Christian writings, this Pauline passage is used approximately 20 times across nine different writers before 604 ce. However, the words of Romans 8.31 may be found on at least 23 epigraphic artifacts from this same period, and in particular, on the door lintels of homes. This article explores what might account for the discrepancy between the literary and epigraphic use of Romans 8.31, the possible apotropaic function of this phrase, and how such evidence might inform the interpretation and reception of this Pauline passage.

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Nakamura, Carolyn. "Dedicating magic: Neo-Assyrian apotropaic figurines and the protection of Assur." World Archaeology 36, no. 1 (April 2004): 11–25. http://dx.doi.org/10.1080/0043824042000192687.

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Makowiecki, Daniel, Wojciech Chudziak, Paweł Szczepanik, Maciej Janeczek, and Edyta Pasicka. "Horses in the Early Medieval (10th–13th c.) Religious Rituals of Slavs in Polish Areas—An Archaeozoological, Archaeological and Historical Overview." Animals 12, no. 17 (September 3, 2022): 2282. http://dx.doi.org/10.3390/ani12172282.

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Knowledge about horses from early medieval (10th–13th c.) Poland has been largely based on historical and archaeological data. Archaeozoological information has only been used to a limited extent. Therefore, this article aims to present the current state of knowledge on this subject, drawing on archaeozoological data from studies of horse bones. Apart from confirming earlier reflections regarding the sacred significance of the horse, additional information was obtained about specific individuals who were the subject of magical treatments. It turned out that sites with horse skeletons and skulls are few compared to the familiar presence of horse remains among kitchen waste. This contrasts with the neighbouring regions, where horses were buried more frequently among the Germans, Scandinavians and Prussians. Some new data have been obtained thanks to taphonomic analyses, which demonstrated that horse skulls of apotropaic status were not only exposed to public viewing but were also deposited under stronghold ramparts. Horses suffering from infectious diseases could also be buried under such ramparts. Considerations in the article lead to conclusions that horses were used in religious rituals as sacrificial animals, apotropaic deposits, as fortune-telling animals and cosmological figures.

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Flood, Finbarr B. "Animal, Vegetal, and Mineral." Representations 133, no. 1 (2016): 20–58. http://dx.doi.org/10.1525/rep.2016.133.1.20.

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A series of enigmatic ninth- or tenth-century wall paintings from Nishapur in eastern Iran seems to have been imbued with amuletic, apotropaic, or talismanic properties. Recapitulating while exaggerating some of the properties of marble, the paintings also include anthropomorphic and vegetal imagery. Their idiosyncratic iconography seems to highlight a tension between physis and technē that may be relevant to the ambiguous ontology of efficacious images in general.

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Parker, Adam, and Stuart Mckie. "Hitching a Lift: Functional Context and Magical Symbolism in a Roman Linchpin from Wootton, North Lincolnshire." Britannia 50 (May 6, 2019): 375–85. http://dx.doi.org/10.1017/s0068113x19000096.

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ABSTRACTA unique linchpin depicting a human thumb, discovered in North Lincolnshire in the 1980s, is here reconsidered and particular emphasis is placed on its potential as an apotropaic symbol. This function is explored in terms of the wider material and literary basis for magical gestures in Roman Britain and the Roman world. The relationship between this image and the space in which it was used is also explored.

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Chapinal-Heras, Diego, and Sergio España-Chamorro. "A new Graeco-Egyptian magical amulet of Anguipes with an apotropaic inscription." Chronique d'Egypte 96, no. 191 (January 2021): 129–36. http://dx.doi.org/10.1484/j.cde.5.128171.

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Journal articles on the topic 'Apotropaics'

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