Bibliographies thématiques / Post-byzantine art

Littérature scientifique sur le sujet « Post-byzantine art »

Auteur : Grafiati
Publié le 10 mars 2023
Mis à jour le 11 mars 2023

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Articles de revues sur le sujet "Post-byzantine art"

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Jevtić, Ivana. « Painted Church Facades in Byzantine and Post-Byzantine Art and Their Aesthetics ». Actual Problems of Theory and History of Art 9 (2019) : 318–25. http://dx.doi.org/10.18688/aa199-2-28.

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Safran, L. « "BYZANTINE" ART IN POST-BYZANTINE SOUTH ITALY ? : Notes on A Fuzzy Concept ». Common Knowledge 18, no 3 (23 août 2012) : 487–504. http://dx.doi.org/10.1215/0961754x-1630415.

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MANTAS, Apostolos G. « The Iconographical Subject ''Christ the Vine'' in Byzantine and Post-byzantine Art ». Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 42 (6 juillet 2011) : 347. http://dx.doi.org/10.12681/dchae.393.

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Spivey, Nigel. « Art and Archaeology ». Greece and Rome 60, no 1 (12 mars 2013) : 176–79. http://dx.doi.org/10.1017/s0017383512000344.

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The front cover of John Bintliff's Complete Archaeology of Greece is interesting. There is the Parthenon: as most of its sculptures have gone, the aspect is post-Elgin. But it stands amid an assortment of post-classical buildings: one can see a small mosque within the cella, a large barrack-like building between the temple and the Erechtheum, and in the foreground an assortment of stone-built houses – so this probably pre-dates Greek independence and certainly pre-dates the nineteenth-century ‘cleansing’ of all Byzantine, Frankish, and Ottoman remains from the Athenian Akropolis (in fact the view, from Dodwell, is dated 1820). For the author, it is a poignant image. He is, overtly (or ‘passionately’ in today's parlance), a philhellene, but his Greece is not chauvinistically selective. He mourns the current neglect of an eighteenth-century Islamic school by the Tower of the Winds; and he gives two of his colour plates over to illustrations of Byzantine and Byzantine-Frankish ceramics. Anyone familiar with Bintliff's Boeotia project will recognize here an ideological commitment to the ‘Annales school’ of history, and a certain (rather wistful) respect for a subsistence economy that unites the inhabitants of Greece across many centuries. ‘Beyond the Akropolis’ was the war-cry of the landscape archaeologists whose investigations of long-term patterns of settlement and land use reclaimed ‘the people without history’ – and who sought to reform our fetish for the obvious glories of the classical past. This book is not so militant: there is due consideration of the meaning of the Parthenon Frieze, of the contents of the shaft graves at Mycenae, and suchlike. Its tone verges on the conversational (an attractive feature of the layout is the recurrent sub-heading ‘A Personal View’); nonetheless, it carries the authority and clarity of a textbook – a considerable achievement.
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Zivkovic, Milos. « Depictions of St. Mark of Ephesus in post-Byzantine art ». Zbornik radova Vizantoloskog instituta, no 57 (2020) : 143–74. http://dx.doi.org/10.2298/zrvi2057143z.

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The paper discusses the visual representations of St. Mark of Ephesus, under-researched in previous scholarship, which have survived in several monuments of post-Byzantine wall painting in the Balkans. These depictions are analyzed as visual testimonies of the veneration of Mark of Ephesus in the period under consideration, i.e. as important indicators of the presence, continuity and dissemination of his cult a long time before his official canonization in the 18th century. The paper also offers an overview of the different iconographic versions of the images of St. Mark of Ephesus. Finally, it examines the possible reasons for the emergence of images representing this famed anti-Unionist metropolitan in the discussed monuments. In this context, the images of Mark of Ephesus are considered through the prism of their placement in a given iconographic program; wherever possible, the role of the ktetor and artist in their creation is examined.
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Albani, Jenny P. « Beyond the Borders of Femininity : St. Eugenia and St. Athanasia in Byzantine and Post-Byzantine Art ». Actual Problems of Theory and History of Art 9 (2019) : 306–17. http://dx.doi.org/10.18688/aa199-2-27.

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Smorąg-Różycka, Małgorzata. « “Mary has filled me with amazement that she gave milk to the One who feeds the multitudes” : Notes on the Byzantine Iconography of Maria Galaktotrophousa ». Ikonotheka 27 (10 juillet 2018) : 5–26. http://dx.doi.org/10.5604/01.3001.0012.2314.

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The image of the Virgin Mary breastfeeding the Christ Child belongs to the most fascinating and yet least researched themes of Byzantine Marian iconography. In the past it has been assumed that the images of the Virgin Galaktotrophousa derived from the art of the Italian Duecento and Trecento in the post-Byzantine period. However, there is sufficient ground to assume that these images were known already in the Middle Byzantine period and were popular during the period of the Paleologian dynasty.
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Paolicchi, Anita. « Problematic Terminology in a Tentative Research Methodology for the Visual Culture of the Balkans ». Studia Universitatis Babeș-Bolyai Historia 66, Special Issue (9 novembre 2021) : 67–78. http://dx.doi.org/10.24193/subbhist.2021.spiss.04.

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"The aim of this paper is to highlight and briefly discuss some of the most problematic terms and concepts that recur in art historiography: for example, the words Byzantine, post-Byzantine, Eastern, Western and Local. These concepts are used in a misleading way not only by American and Western European authors, but also by Eastern and South-Eastern European ones: in fact, the “Balkan” art historiography based itself on the Western-European one, adopting its periodisation, terminology and interpretative framework, which led to a number of methodological problems that researchers are now trying to identify, discuss and, if possible, solve. Keywords: art historiography, South-Eastern Europe, silverwork, Byzantium. "
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Ginting, Alex Cristian Justisia. « Relasi Narasi Visual dan Teks dalam Ikon Transfigurasi Paroki St. Dionysios Yogyakarta ». Journal of Contemporary Indonesian Art 7, no 2 (30 octobre 2021) : 57–63. http://dx.doi.org/10.24821/jocia.v7i2.6078.

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Seni lukis Byzantine adalah salah satu warisan kesenian dunia yang belum banyak dibahas oleh kalangan akademisi seni di Indonesia. Warisan seni lukis Byzantine sering disamakan dengan Ikonografi, yaitu gambar-gambar suci yang sampai hari ini masih dipertahankan fungsinya dalam gereja-gereja yang menggunakan ritus Byzantine (Gereja Orthodox dan Gereja Katolik Ritus Byzantine). Seni Byzantine dibagi tiga periode, yaitu awal, tengah, dan akhir, dimana pada periode Tengah-Akhir muncul ikon berjenis Menologion. Seni lukis Byzantine dikaji menggunakan Ikon Pesta Transfigurasi yang merupakan digitalisasi dari ikon aslinya yang berasal dari abad ke-16 untuk menjelaskan bentuk visual, struktur dan hubungannya dengan narasi. Kajian menemukan ada kesamaan antara visualisasi narasi ikon dengan struktur pesta Gerejawi yang memiliki tiga pola (Pra Pesta – Pesta – Pasca Pesta/Apodosis).Byzantine painting is one of the world's artistic heritage that art academics have not widely discussed in Indonesia. The legacy of Byzantine painting is often equated with iconography, which is sacred images that still retain their function in churches that use the Byzantine rite (Orthodox Church and Byzantine Rite Catholic Church). Byzantine art had developed in three periods, namely beginning, middle, and end, wherein the Middle-Late period, an icon of the Menologion type appears. The byzantine painting was studied using the Transfiguration Feast Icon, digitizing the original icon dating from the 16th century to explain its visual form, structure, and relationship to narrative. The study found similarities between the visualization of the iconic narrative and the ecclesiastical party structure with three patterns (Pre Pesta – Pesta – Post-Pesta / Apodosis).
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Daniilia, Sister, Elpida Minopoulou, Konstantinos S. Andrikopoulos, Andreas Tsakalof et Kyriaki Bairachtari. « From Byzantine to post-Byzantine art : the painting technique of St Stephen's wall paintings at Meteora, Greece ». Journal of Archaeological Science 35, no 9 (septembre 2008) : 2474–85. http://dx.doi.org/10.1016/j.jas.2008.03.017.

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Thèses sur le sujet "Post-byzantine art"

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Schilb, Henry. « Byzantine identity and its patrons embroidered aeres and epitaphioi of the Palaiologan and post-Byzantine periods / ». [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3358943.

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Thesis (Ph.D.)--Indiana University, Dept. of History of Art, 2009.
Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1457. Adviser: W. Eugene Kleinbauer.
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Konis, Polyvios. « From the Resurrection to the Ascension : Christ's post Resurrection appearances in Byzantine Art ». Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/663/.

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This thesis examines the evolution and dissemination of the iconography of the post-Resurrection appearances of Christ. Special attention is given to the association between word and image, as well as the influence exerted on art by contemporary theology, liturgy and politics. The earliest use of these apparitions in art is associated with baptism while in literature they were successfully employed against heresies. The Virgin’s participation in the post-Resurrection narrative reveals the way in which homilies and hymns inspire art. Another important figure of these apparitions, which receives special attention, is the Magdalene, whose significance rivalled that of the Virgin’s. While the Marys at the Tomb and the Chairete were two of the most widely accepted apparitions, it was the Incredulity of Thomas that found its way in the so-called twelve-feast cycle and revealed the impact of liturgy upon the dissemination of an iconographic theme. The emergence of the Anastasis will rival their exclusive role as visual synonyms of Christ’s resurrection, but this thesis reveals that their relation was one of cooperation rather than rivalry, since the post-Resurrection scenes and the Anastasis complimented each other in terms of iconography and theology. Finally it becomes apparent that the pilgrimage in the Holy Land and the liturgy that was taking place there is responsible for many iconographic details which help us discern the dissemination of a particular iconography.
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Isar, Nicoletta. « Le monastère de Suceviţa dans le contexte des églises moldaves et de la peinture post-byzantine ». Paris 4, 1995. http://www.theses.fr/1995PA040120.

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Cette thèse rend compte en détail du programme iconographique de Sucevita,le plus élaboré et le mieux conservé de toutes les peintures murales extérieures des monastères de Moldavie et l'éclaire par le contexte historique,politique et culturel. La Moldavie a joué un rôle majeur dans l'expansion de h'esychasme au sein du monde post-byzantin. L'hésychasme est la source d'inspiration idéologique de tous les monastères moldaves du XVIe siècle. Les éléments relatifs à ce mouvement de pensée avainet déjà été reconuus dans l'Echelle de Climaque,dont l'importance dans le programme de Sucevita est soulignée ici. Les mêmes éléments permettent d'expliquer des images dont la signification était restée obscure,par exemple le Double Logos,Le Fils unique,la Vie de Moi͏̈se. Une interprétation est proposée pour chaque inscription. Méthodologiquement,l'iconographie de Sucevita est abordée selon l'esthétique byzantine et,surtout,post-byzantine ; il fallait échapper aux suppositions partant de l'esthétique occidentale du Moyen-Age et de la Renaissance. A cette fin,les théories sémiotiques de Zhegin et Uspensky ont été largement exploitées
Of all the externally-painted monasteries of Moldavia,Sucevita is among the most elaborated and the best-preserved. .
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Zoumboulaki, Sophia. « L' Arbre de Jessé et la représentation des philosophes grecs et autres sages païens dans la peinture murale byzantine et post-byzantine ». Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010516.

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L'Arbre de Jessé est une image particulièrement complexe qui a connu plusieurs variantes iconographiques. Le type christologique complexe est une création byzantine du sujet. Ce type est constitué de plusieurs éléments iconographiques, comme des scènes prophétiques, des figures des ancêtres et des prophètes. A ce noyau iconographique s 'ajouteront à partir de la fin du XIIIe siècle et le début du XIVe siècle les figures des sages et philosophes païens. Dans la présente étude nous examinons l'iconographie de ce type et nous essayons de comprendre, à travers les images et les inscriptions écrites sur les rouleaux des sages païens, cette association afin de retracer ses étapes d'évolution principales dans la peinture murale byzantine et post-byzantine
The Tree of Jesse is a particularly complicated pictorial theme, which can be found in many different versions. The complex christological type is a purely Byzantine creation. Towards the end of 13th and early 14th century, figures of sages and philosophers of the Greek antiquity are added to this type, which already contains many iconographic elements such as prophetic and evangelical scene and independent figures of prophets and ancestors of Christ. In this study we examine the compositions and the texts of the inscriptions written on the pagan's scrolls this iconographic combination in order to trace its key evolutional stages in Byzantine and post-Byzantine mural painting
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Koutsikou, Chryssavgi. « Les icônes hagiographiques post-byzantines (XVe-XVIIe siècles) : le cas des ateliers crétois ». Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H022.

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La présente thèse a comme sujet les icônes hagiographiques exécutées du début du XVe à la fin du XVIIe siècle dans l'île de Crète qui était sous domination vénitienne depuis 1210. La prise de Constantinople par les Ottomans en 1453 a privé l'empire byzantin de son centre et la Crète, où plusieurs peintres constantinopolitains se sont réfugiés, a développé, sous leur influence, l'art du chevalet dans des ateliers organisés sur le modèle des ateliers occidentaux. La présente étude inclut 74 icônes de 26 saints. Dans l'introduction, la présentation du sujet est suivie de l'intégration des œuvres dans leur contexte historique et artistique, de la présentation de l'état de la recherche et de J'approche méthodologique. Le texte s'articule en quatre chapitres. Le premier inclut une présentation de la fréquence de l'illustration des saints sur les icônes, de la répartition des œuvres par siècle, de la localisation des peintres connus et des commanditaires d'après des inscriptions dédicatoires. Le deuxième aborde l'évolution de la typologie quant à la disposition du cycle hagiographique du saint par rapport à la représentation centrale, au nombre des compartiments et le rapport avec celui des épisodes illustrés, les modes de délimitation des compartiments et la mise en place des épisodes illustrés. Le troisième chapitre étudie en détail l'évolution de l'iconographie des scènes, de la constitution des cycles et de la diffusion des formules iconographiques, avec comme point de départ les cycles des saints Georges et Nicolas. L'étude de l'évolution iconographique des cycles des toutes les icônes, suivant l'ordre chronologique des œuvres, est abordée dans le quatrième chapitre
The present thesis is about vita icons executed from the beginning of the 15th to the end of the 17th c. on the island of Crete which was under Venetian rule since 1210. The capture of Constantinople by the Ottomans in 1453 deprived the Byzantine empire of its center and Crete, where several Constantinopolitan painters have taken refuge, has developed, under their influence, the art of the icons painting in workshops organized on the mode] of Western workshops. This study includes 74 icons of 26 saints. ln the Introduction, the presentation of the subject is followed by the integration of the works in their historical and artistic context, the presentation of the state of the research and the methodological approach. The text is divided into 4 chapters. The 1st includes a presentation of the frequency of illustration of saints on icons, the distribution of works by century, the location of known painters and sponsors based on dedicatory inscriptions. The 2nd deals with the evolution of the typology as to the disposition of the hagiographic cycle of the saint in relation to the central representation, the number of compartments and the relationship with that of the illustrated episodes, the modes of delimitation of the compartments and the establishment of the illustrated episodes. The 3d chapter studies in detail the evolution of the iconography of the scenes, the constitution of the cycles and the diffusion of the iconographic formulas, with as starting point the cycles of saints Georges and Nicolas. The study of the evolution of the iconography of the cycles of ail the icons, according to the chronological order of the works, is addressed in the 4th chapter
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Steyn, Raita. « Archangel Michael as "icon" in the Byzantine and Post-Byzantine periods ». Thesis, 2010. http://hdl.handle.net/10210/3143.

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Sloutsky, Lana. « Quasi alterum Byzantium : the preservation of identity through memory and culture by aristocratic Byzantine women, 1440-1600 ». Thesis, 2017. https://hdl.handle.net/2144/27337.

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This dissertation analyzes the preservation of Byzantine culture, memory, and identity after 1453 by a network of aristocratic Byzantine women. By integrating art history, history, and anthropology to follow the lives, social networks, and patronage patterns of these women, this project examines the cultural contributions of this small, yet remarkable population. The first chapter discusses Anna Palaiologina Notaras, who perpetuated Byzantine culture through texts and images in Venice. By negotiating between the Byzantine émigrés and the Venetian authorities, she secured unprecedented privileges and recognition for the marginalized community. The second chapter centers on Zoe (Sophia) Palaiologina, niece of Emperor Constantine XI, who was raised as an exile at the papal court. In 1472, she married the Grand Duke of Moscow and became a vital translator among the visual languages of Byzantium, Italy, and Russia. Through her entourage, objects, and familial connections, the princess solidified Moscow’s connection to the fallen Byzantium. Chapter three focuses on Cantakuzina (Catherine) and Mara Branković, daughters of Serbian Despot, George Branković. In 1435, Mara married Ottoman Sultan, Murad II and became stepmother to Mehmed II, conqueror of Constantinople. Throughout her life, she participated in a series of diplomatic efforts, which allowed her to become a patron of Byzantine culture within the confines of the Ottoman Empire. Mehmed II relied on Mara to validate symbolically his rule in the eyes of his Byzantine subjects, for whom she was a de-facto spokeswoman. Mara and Cantakuzina negotiated peacefully between Mehmed, the Venetians, Athonite monastics, and prominent post-Byzantine figures. Chapter four discusses Helena Palaiologina, another niece of Constantine XI, and her daughter Charlotte. In 1442, Helena married John II of Cyprus, and became Queen of Cyprus, Armenia, and Jerusalem. Helena applied her power to welcome an important group of post-1453 refugees to Cyprus. Charlotte was forced into exile and ended her life at the papal court, to which she gifted a number of valuable objects. Together, Helena and Charlotte helped preserve the Byzantine imperial traditions of philanthropy and diplomatic gift giving. This dissertation contributes to early modern women’s studies and provides a more nuanced understanding of cultural perpetuation.
2020-01-25
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Paolicchi, Anita. « Reliquiari e tabernacoli. Un'indagine comparativa delle oreficerie sacre del mondo bizantino-slavo ». Doctoral thesis, 2020. http://hdl.handle.net/2158/1186197.

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Tesi di dottorato discussa il 26/02/2020. L’obiettivo di questa tesi è quello di fornire una visione, per quanto non esaustiva, del potenziale del patrimonio dello spazio carpato-danubiano-balcanico come strumento di comprensione della cultura di quest’area di cerniera. Tenendo presente tale prospettiva e nell’ovvia impossibilità di indagare la totalità delle tipologie di suppellettili in uso nel mondo ortodosso, ho scelto di ridurre l’indagine a quelle categorie di reliquiari e contenitori eucaristici che dopo una prima analisi mi sono parsi più significativi per le loro differenze o somiglianze con oggetti analoghi in uso nell’Occidente latino, in un’ottica di confronto sincronico e diacronico, dedicando particolare attenzione all’analisi della loro evoluzione formale e stilistica nei secoli, al fine di evidenziare eventuali influenze o convergenze. A tale proposito si è cercato di mettere in luce quelle variazioni delle condizioni socioculturali che, in determinati momenti storici, possono aver offerto un ambiente favorevole all’introduzione di novità rituali, provocando l’introduzione o la scomparsa di specifiche forme e tipologie di suppellettili liturgiche.
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Livres sur le sujet "Post-byzantine art"

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From Constantine the Great to Kandinsky : Studies in Byzantine and post-Byzantine art and architecture. Oxford : Archaeopress, 2007.

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Vyzantino Mouseio Kastorias : Vyzantines kai metavyzantines eikones = Kastoria Byzantine Museum : Byzantine and Post-Byzantine icons. Athēna : Hypourgeio Politismou, Tameio Archaiologikōn Porōn kai Apallotriōseōn, 2002.

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Myrtalē, Acheimastou-Potamianou, et Vyzantino Mouseio (Athens Greece), dir. Byzantine and Post-Byzantine art : [exhibition] Athens, Old University, July 26th 1985-January 6th 1986. Athens : Ministry of Culture, 1985.

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Hidryma Hellēnikou Politismou (Athens, Greece), dir. Greek art books : From early antiquity to the post₋Byzantine era. [Athens?] Greece : Foundation For Hellenic Culture, 1994.

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Greece) Inscriptions : Their Contribution to the Byzantine and Post-Byzantine History and History of Art (2015 Iōannina. Inscriptions in the Byzantine and post-Byzantine history and history of art : Proceedings of the international symposium "Inscriptions : Their Contribution to the Byzantine and Post-Byzantine History and History of Art" (Ioannina, June 26-27, 2015). Wiesbaden : Harrassowitz Verlag in Kommission, 2016.

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Staikos, K. From the incarnation of logos to the theosis of man : Byzantine and post-Byzantine icons from Greece. Sous la direction de Muzeul Național de Artă (Romania) et Hidryma Hellēnikou Politismou (Athens, Greece). Athens : Hellenic Foundation for Culture, 2008.

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Antapodosē : Meletes vyzantinēs kai metavyzantinēs archaiologias kai technēs pros timēn tēs kathēgētrias Helenēs Delēgiannē-Dōrē = Antapodosi : studies in Byzantine and post-Byzantine archaeology and art in honour of professor Helen Deliyianni-Doris. Athēna : Vivliotechnia O.E., 2010.

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The Von Post Collection of Cypriote late Byzantine glazed pottery. Jonsered, Sweden : P. Åström, 1996.

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Maria, Kazanaki-Lappa, dir. Arte bizantina e postbizantina a Venezia : Museo di icone dell'Istituto ellenico di studi bizantini e postbizantini di Venezia. Villorba (TV) [i.e. Treviso, Italy] : Eurocromlibri, 2009.

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Maria, Kazanaki-Lappa, dir. Arte bizantina e postbizantina a Venezia : Museo di icone dell'Istituto ellenico di studi bizantini e postbizantini di Venezia. Villorba (TV) [i.e. Treviso, Italy] : Eurocromlibri, 2009.

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Chapitres de livres sur le sujet "Post-byzantine art"

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Lymberopoulou, Angeliki. « Late and Post-Byzantine Art under Venetian Rule : Frescoes versus Icons, and Crete in the Middle ». Dans A Companion to Byzantium, 351–70. Oxford, UK : Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320015.ch27.

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Mastrotheodoros, Georgios P., Eleni Filippaki, Yannis Bassiakos et Konstantinos G. Beltsios. « Post-Byzantine Monumental Pictorial Art : Painting Materials and Techniques in the Church of the Transfiguration of our Savior in Klimatia (Epirus, NW Greece) ». Dans 10th International Symposium on the Conservation of Monuments in the Mediterranean Basin, 445–50. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78093-1_47.

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Koutliani, Katerina, Theodore Ganetsos, Christina Merkouri, Maria Perraki et Nikolaos Laskaris. « Pigments Identification in Oil Paintings of 18th–19th Century from the Museum of Post-Byzantine Art of Zakynthos Using Raman Spectroscopy and XRF ». Dans Digital Heritage. Progress in Cultural Heritage : Documentation, Preservation, and Protection, 196–203. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01765-1_22.

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Asavei, Maria Alina. « Spiritual Ecologies and Meta-Byzantine : Music During Nicolae Ceauṣescu’s Regime ». Dans Art, Religion and Resistance in (Post-)Communist Romania, 111–35. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56255-7_5.

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Laurìa, Antonio, Valbona Flora et Kamela Guza. « Three villages of Përmet : Bënjë, Kosinë and Leusë ». Dans Studi e saggi, 39–156. Florence : Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-175-4.01.

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Part I of the book focusses on three villages in the Municipality of Përmet: Bënjë, Kosinë and Leusë. Bënjë, which lies entirely within the "Bredhi i Hotovës - Dangëlli" National Park, has undergone anthropization processes since prehistoric times. Due to its landscape and architectural value, it was recognised in 2016 as a “historical centre” and as such has come under the protection of the National Institute for the Cultural Heritage. There is little information concerning the history of Kosinë. The inhabitants show a strong connection with the Byzantine Church of the Dormition of Mary, but regrettably, it was impossible to go back to the origins of the current settlement. The village of Leusë, instead, existed before 1812, the year in which the Church of the Dormition of Mary was built. Today, the image of the village is a consequence of the partial reconstruction occured after the severe damage suffered during World War II. In the first chapters, the importance of the intangible heritage is stressed. Përmet’s food heritage is well-known on a national scale for its typical products (spirits, fruit preserves, dairy, meat, honey and bakery products), which result from the favourable climatic conditions and the rich biodiversity of the area. The tradition of the Tosk iso-polyphony, the hospitality of Përmet inhabitants and their historical devotion to religion, knowledge and study emerge with great strength together with the craftsmanship traditions and the exceptional skills of the itinerant and seasonal master builders. In the following chapters, the multiple aspects of the tangible heritage are analysed. The landscape in Përmet includes a vast variety of habitats, which have preserved to a large extent their original qualities. It is deeply marked by the Vjosa River and other several minor watercourses that crisscross the territory. A special attention is given to the historical built heritage of the villages, and specifically to three architectural assets (all listed as category I Cultural Monuments): the Katiu Bridge in Bënjë (an Ottoman bridge of the 18th century), the Church of the Dormition of Mary in Leusë (a Post-Byzantine building of the 19th century), and the Church of the Dormition of Mary in Kosinë (a Byzantine building of the end of the 12th century). For each of the aforementioned issues, the theoretical and historical analysis are closely bound to an evaluation of those features of the cultural heritage that could be enhanced to guarantee a sustainable tourism development of the area. Each chapter ends with a consistent set of specific intervention strategies. They are substantive tools for action aimed at public and private local actors.
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Kozak, Nazar. « 9 The Akathistos on the Move and the Geography of Post-Byzantine Art ». Dans Eclecticism in Late Medieval Visual Culture at the Crossroads of the Latin, Greek, and Slavic Traditions, 221–38. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110695618-011.

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Tsampouras, Theocharis. « 5 Eclecticism and Originality in the Early Post-Byzantine Art of the Ottoman Balkans ». Dans Eclecticism in Late Medieval Visual Culture at the Crossroads of the Latin, Greek, and Slavic Traditions, 131–54. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110695618-007.

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« 7 Post-Byzantine Art and Western Influences in Military Iconography : The Case of Staff Weapons in the Work of Michael Damaskenos ». Dans A Military History of the Mediterranean Sea, 173–83. BRILL, 2018. http://dx.doi.org/10.1163/9789004362048_009.

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West-Harling, Veronica. « Concluding Thoughts ». Dans Rome, Ravenna, and Venice, 750-1000, 515–20. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198754206.003.0008.

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This study has shown that, notwithstanding the strength of the ‘Roman’ past of these 3 post-Byzantine cities, there are considerable differences between them both quantitatively and qualitatively as to the understanding, use or interest. This tradition meant different things to different city actors, and in practice, it was often and increasingly mixed up with the other traditions, Lombard and Frankish especially, which made up the lifestyle of other Italian cities and regions. To what extent these cities were unique or different from other Byzantine ones, such as Naples, or to those without this tradition, such as Pavia or Milan, would be a most desirable follow-up in another study.
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Neil, Bronwen. « Epilogue ». Dans Dreams and Divination from Byzantium to Baghdad, 400-1000 CE, 187–204. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198871149.003.0008.

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The epilogue draws out the common threads in all three traditions—Byzantine Christianity, rabbinic Judaism, and early Islam—and shows how they survive in the contemporary world. In political conflicts, dreams are still sometimes used as justifications for military action, especially by jihadists and others keen to incite inter-religious conflict. Online evidence shows that dream discourses are still being interpreted and appropriated by some contemporary Christian and Islamic believers as tools of providence and divine revelation. Unlike the post-Freudian understanding of dreams as reflections of individual psychic processes of the unconscious, dreams had both individual and social significance in the Byzantine tradition, and in the Islamic tradition up to the current day. Immense semiotic power was thus given to a medium that was able to be misrepresented and manipulated at will. This has always been the problem with dreams and is probably the main reason why they are discounted in most post-Enlightenment societies, but not by all. The chapter asks whether such dreams are important to certain fundamentalist religious cultures because they give equal opportunities to men and women to mediate divine judgement and participate vicariously in violence. It closes with an assessment of current trends in Islam and evangelical Christianity.
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