Статті в журналах: "Antiquité Ruins"

1

Edwards, Catharine. "Antiquité et psychologie des ruines." Anabases, no. 9 (March 1, 2009): 267–70. http://dx.doi.org/10.4000/anabases.520.

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Campbell, Kermit E. "Rhetoric from the Ruins of African Antiquity." Rhetorica 24, no. 3 (2006): 255–74. http://dx.doi.org/10.1525/rh.2006.24.3.255.

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Abstract Recent studies in comparative rhetoric have brought much needed attention to traditions of rhetoric in non-Western cultures, including many in Africa. Yet the exclusive focus on contemporary African cultures limits understanding of the history of rhetoric in Africa. Although extensive data on African antiquity is lacking, we know that early Nubian and Ethiopian cultures were highly civilized, socially and politically. Literacy in the ancient cities of Napata, Meroe, and Axum, and in the medieval city of Timbuktu suggests that black Africa was not exclusively oral and not without recourse to a means of recording its uses of language. This essay adds a historical dimension to comparative studies of rhetoric in Africa, showing the depth and complexity of this little known aspect of African civilizations.

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3

Kahane, Ahuvia. "Image, word and the antiquity of ruins." European Review of History: Revue europeenne d'histoire 18, no. 5-6 (October 2011): 829–50. http://dx.doi.org/10.1080/13507486.2011.618333.

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4

Kahane, Ahuvia. "Antiquity and the ruin: introduction." European Review of History: Revue europeenne d'histoire 18, no. 5-6 (October 2011): 631–44. http://dx.doi.org/10.1080/13507486.2011.618315.

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5

Dal Prete, Ivano. "The Ruins of the Earth." Nuncius 33, no. 3 (November 26, 2018): 415–41. http://dx.doi.org/10.1163/18253911-03303002.

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Abstract The relation between visual depictions of rocks and mountains, and coeval notions on the origin and nature of the Earth, is one of the least studied aspects of Renaissance scientific culture. Yet, in the course of the 1400s a new kind of ruins made its appearance in drawings and paintings, alongside those of the classical antiquity: the vestiges of an ancient Earth, as shown in eroded crags, decomposing mountains and in the layered structure of their exposed bowels. In this essay I relate these representations to both the learned tradition of medieval “meteorology,” and to the empirical expertise of Renaissance artists/engineers. Finally, I place within this larger context some aspects of Leonardo da Vinci’s geological writings and drawings, with particular reference to his studies of layered rocks and his discussion of the Biblical flood.

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6

Dagios, Mateus. "HAMILAKIS, Yannis. The Nation and its Ruins: Antiquity, Archaeology, and National Imagination in Greece, (Classical Presences). Oxford University Press, 2007. 352 pp. Reeditado em 2009." Em Tempo de Histórias, no. 20 (August 17, 2012): 183–88. http://dx.doi.org/10.26512/emtempos.v0i20.19868.

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7

Baker, David Weil. "Ruin and Utopia." Moreana 40 (Number 155), no. 3 (September 2003): 49–66. http://dx.doi.org/10.3366/more.2003.40.3.4.

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The author examines Utopia in the light of antiquarian exchanges between More and Jerome Busleyden. More visited Busleyden at his home in Mechlin during the weeks when enforced leisure allowed him to write Utopia. More praised Busleyden’s collection of ancient Roman coins in an epigram, and he celebrated the antiquities of the house in a letter to Erasmus. Busleyden in turn alludes to his and More’s shared antiquarian interests in his prefatory letter to Utopia. The two humanists’ ruminations on the ruins of past empires highlight the paradox of Utopia being an antiquity without ruins, and they provide an oblique commentary on the imperial aspirations of sixteenth-century monarchs.

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8

Sakellariadi, Anastasia. "The Nation and its Ruins: Antiquity, Archaeology, and National Imagination in Greece." Public Archaeology 7, no. 2 (May 2008): 130–34. http://dx.doi.org/10.1179/175355308x330034.

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9

Boardman, J. "The Nation and Its Ruins: Antiquity, Archaeology, and National Imagination in Greece." Common Knowledge 15, no. 3 (August 24, 2009): 503–4. http://dx.doi.org/10.1215/0961754x-2009-028.

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10

Shaw, Wendy. "How to View the Parthenon through the Camera Obscura of the Tortoise." Review of Middle East Studies 51, no. 2 (August 2017): 214–20. http://dx.doi.org/10.1017/rms.2017.109.

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Visiting ruins, I enjoy the texture of the weathered stones. The wide space, colored in spring by wildflowers. Open space and vistas, the heady smell of grasses drying in the hot sun. Birds sing as they have since Plato's cicadas. Once, alone near the ruins, I heard a strange rhythmic clicking in the grass: two tortoises making love. The ruins that I visit remind me of antiquity not because I picture Socrates walking through the Stoa, but because I picture him walking along the still undeveloped riverbank, smelling these grasses, listening to these birds. The simplicity that I long for, however, is not millennia away, but only centuries. It is almost at arms’ length, but just out of view. What I find there is nature in a frame of culture. Like most tourists, I cannot transform the stones into the imaginary film of antiquity that the European brain of the nineteenth century, steeped in a classical education, projected onto them. Yet their vision was no more authentic than mine: in order to project the past onto stones, they had to erase the present.

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11

Casal, Rodrigo Cacho. "The Memory of Ruins: Quevedo's Silva to “Roma antigua y moderna”." Renaissance Quarterly 62, no. 4 (2009): 1167–203. http://dx.doi.org/10.1086/650026.

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AbstractThe silva to “Roma antigua y moderna” by Francisco de Quevedo is a complex rewriting of Joachim Du Bellay's Antiquitez de Rome. The Spanish author makes an archeological study of his model, identifying the sources, and, through intertextual dialogue with the classical and humanistic descriptions of Rome, creates a symbolic space of memory where different stages of history are represented. In this manner, Quevedo produces a Baroque reading of the Renaissance.

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12

Craven, Allison Ruth. "The ambiguities of ancestry: antiquity, ruins and converging traditions of Australian Gothic Cinema." Studies in Australasian Cinema 14, no. 3 (September 1, 2020): 162–77. http://dx.doi.org/10.1080/17503175.2020.1845284.

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13

Shafir, Nir. "Nābulusī Explores the Ruins of Baalbek: Antiquarianism in the Ottoman Empire during the Seventeenth Century." Renaissance Quarterly 75, no. 1 (2022): 136–84. http://dx.doi.org/10.1017/rqx.2021.332.

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Although it is generally thought that Muslims paid little attention to pre-Islamic antiquity, the Damascene scholar ʿAbd al-Ghanī al-Nābulusī visited and described the Roman ruins of Baalbek twice, in 1689 and 1700. He interpreted the site, however, not as a temple but as a palace built by jinns for Solomon. Nābulusī was very likely aware of the site's Roman past but purposefully played with its historicity to highlight Syria's innate sanctity. His interpretation of Baalbek reveals an antiquarian project in the Ottoman Empire that was constructed along variant but parallel lines to the better known one in Renaissance Europe.

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14

KAIN HART, LAURIE. "The Nation and Its Ruins: Antiquity, Archaeology, and National Imagination in Greece by Yannis Hamilakis." American Ethnologist 38, no. 4 (November 2011): 844–46. http://dx.doi.org/10.1111/j.1548-1425.2011.01339_25.x.

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15

SILBERMAN, NEIL ASHER. "The Nation and Its Ruins: Antiquity, Archaeology, and National Imagination in Greece by Yannis Hamilakis." American Anthropologist 110, no. 4 (December 2008): 525–26. http://dx.doi.org/10.1111/j.1548-1433.2008.00089_4.x.

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16

Herzfeld, Michael. "The nation and its ruins: antiquity, archaeology, and national imagination in Greece - By Yannis Hamilakis." Journal of the Royal Anthropological Institute 14, no. 4 (December 2008): 895–96. http://dx.doi.org/10.1111/j.1467-9655.2008.00537_6.x.

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17

Pai, Hyung Il. "Monumentalizing the Ruins of Korean Antiquity: Early Travel Photography and Itinerary of Seoul’s Heritage Destinations." International Journal of Cultural Property 21, no. 3 (August 2014): 331–47. http://dx.doi.org/10.1017/s0940739114000228.

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Abstract:This study introduces the oldest photographs of Seoul’s ruins, which have been recycled for more than a century in a wide variety of print sources, such as travelogues, postcards, museum catalogs, and guidebooks. Regardless of the medium, the aesthetic, disciplinary, and cultural biases practiced by the first generation of globe-trotters, diplomats, and commercial photographers to arrive in the Korean peninsula resulted in the mass distribution of the most “picturesque” monuments, such as Buddhist art and architecture, palaces, and fortress gates targeting the “tourist gaze.” By analyzing a select number of stock images of architectural landscapes, which have served as the “scenic” backdrop for framing “native types,” currently part of museum collections and photographic archives, the article will illustrate how such exoticized and romanticized visions of the conquered “Hermit Kingdom” trapped in time and space have continued to impact the trajectory of heritage management policies and the hierarchical ranking system of national treasures and famous places in postwar South Korea.

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18

DAZ-ANDREU, MARGARITA. "The Nation and its Ruins: Antiquity, Archaeology and National Imagination in Greece by Yannis Hamilakis." Nations and Nationalism 14, no. 3 (July 2008): 629–31. http://dx.doi.org/10.1111/j.1469-8129.2008.00361_11.x.

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19

Pai, Hyung Il. "GATEWAY TO KOREA: COLONIALISM, NATIONALISM, AND RECONSTRUCTING RUINS AS TOURIST LANDMARKS." Journal of Indo-Pacific Archaeology 35 (January 2, 2015): 15. http://dx.doi.org/10.7152/jipa.v35i0.14729.

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<p><span>This paper traces the evolution of the South Gate (Sungnye-mun) as a must-see destination representing the antiquity, beauty and patrimony of Seoul, the former capital of the 600 year-old Chosŏn dynasty of Korea (1392-1910). Using the case study of the Republic of Korea's premier national treasure, this paper traces the preservation methods, educational, and commercial agendas of the producers, managers, and promoters of heritage remains. The earliest photographic records date back to the late nineteenth century when travel photo- graphs taken by stereo-view companies, photo-studios, and diplomats were recycled in newspapers, postcards, and guidebooks, giving foreigners the first glimpses into the “Hermit Kingdom.” The analysis relies on CRM archives such as photographs, guidebooks, architectural surveys, excavation reports, and material resources compiled by the Cultural Heritage Administration (CHA) during the five years of excavations and construction of a replica to replace the original destroyed in an arson fire in 2008. The paper concludes with the grand re-opening ceremony to celebrate not only the resurrection of South Gate but to showcase the successes of the government's centralized heritage management policies, and conservation methods dedicated to preserving the city's architectural heritage.</span></p>

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20

Budasz, Sarah. "Erotics of the ruins: longing for the lost antiquity in Pierre Loti’s La Mort de Philae." Studies in Travel Writing 24, no. 2 (April 2, 2020): 131–41. http://dx.doi.org/10.1080/13645145.2020.1858240.

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21

Szeliga, Dorota. "Les « reliques cendreuses » de la Ville éternelle. Mélancolie et espoir dans Les Antiquités de Rome de Joachim Du Bellay." Studia Litteraria 17, no. 2 (August 2, 2022): 151–62. http://dx.doi.org/10.4467/20843933st.22.014.15602.

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During his stay in Rome (1553–1557), Joachim Du Bellay composed the collection of sonnets Les Antiquités de Rome, often overshadowed by the more famous Les Regrets. However, the charm of the poems dedicated to the eternal city, and the history of its greatness and fall, is increasingly appreciated. The poet consistently describes the impressions of a sixteenth-century visitor contemplating the image of the ancient city from which only ruins seem to have remained. The mood of melancholy is built by a specific construction of images and appropriately selected vocabulary. It is a vision of the city turned into ruin, where even the honor is turned into ‘ashes’, and the only remnants of the past glory is its name. However, the poet does not want to leave the reader in a mood of despondency, and carefully interweaves melancholic and optimistic motifs: traces of the greatness of ancient Rome have survived in the finest literary works, and Du Bellay himself emphasizes that he is the first French poet to describe the glory of the eternal city. This is also important because the collection is dedicated to King Henry II and is probably conceived to show him the path that France should follow in striving for the perfection of the Roman empire, while avoiding its weaknesses. Therefore, the collection is not only a melancholic reminiscence of ancient Rome, but also a canzoniere dedicated to the beautiful city, where one can find inspiration to build France in the spirit of Gallicanism.

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22

Kordonouri, Thomais. "Archiving Metaxourgio." Joelho Revista de Cultura Arquitectonica, no. 11-12 (September 9, 2021): 167–84. http://dx.doi.org/10.14195/1647-8681_11_12_10.

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‘Archive’ is a totality of records, layers and memories that are collected. A city is the archive that consists of the conscious selection of these layers and traces of the past and the present, looking towards the future. Metaxourgio is an area in the wider historic urban area of Keramikos in Athens that includes traces of various eras, beginning in the Antiquity and continuing all the way into the 21st century. Its archaeological space ‘Demosion Sema’ is mostly concealed under the ground level, waiting to be revealed. In this proposal, Metaxourgio is redesigned in light of archiving. Significant traces of the Antiquity, other ruins and buildings are studied, selected and incorporated in the new interventions. The area becomes the ‘open archive’ that leads towards its lost identity. The proposal aims not only to intensify the relationship of architecture with archaeology, but also to imbue the area’s identity with meanings that refer to the past, present and future.

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23

Klinger-Dollé, Anne-Hélène. "David Karmon, The Ruin of the Eternal City. Antiquity and Preservation in Ren." Anabases, no. 17 (March 1, 2013): 283–86. http://dx.doi.org/10.4000/anabases.4268.

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Somhegyi, Zoltán. ""Learning from Detroit?": From materialised dreams to bitter awakening aesthetics around decayed shopping malls." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 201–12. http://dx.doi.org/10.5937/saj1502201s.

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Shopping malls were and are still particularly popular since the first ones were built in the 1950s. Curiously, both their frequent visitors and their most avid critics see them as the materialisation of the consumer society's dream. They are thus often considered as almost being "temples" of consumerism, where the activity of "shopping" substitutes other, more traditional forms of sociocultural engagement. In the recent years we can experience an increasing interest in the documentation of decayed malls from a melancholic-nostalgic viewpoint in dreamy visions that in certain cases makes the images similar to the classical representation of Antique ruins. Is it only by coincidence, or is there a parallel between the appreciation of ruins of the temples of Antiquity and the ruins of the temples of consumerism? In case yes, then what can we learn from the attempts of aestheticisation of this decay? What can these series of artworks reveal on our present condition and approach to space, entertainment, consuming and life? I am bringing in my examination some considerations on Detroit, not (only) on the city itself, that has become a reference point, and sometimes even a "playground" for the analyses of contemporary decay, but on Detroit as a phenomenon or symbol, as well as some considerations based on the re-reading of Venturi, Brown and Izenour's milestone-book.

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25

Rutyna, Halina. "Value of Antiquity in the Restoration Process of the Art Nouveau Villa Duelfer in Barlinek/ Wartość Dawności W Procesie Renowacji Secesyjnej Willi Architekta W Barlinku." Civil And Environmental Engineering Reports 17, no. 2 (June 1, 2015): 129–36. http://dx.doi.org/10.1515/ceer-2015-0028.

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Abstract The value assigned to time-worn objects and buildings seems crucial to a conservator’s theoretical beliefs. The notion of antiquity is almost imprinted in the structure of the building itself, as well as in the concept of the time that has lapsed since the erection of the building. The head of the restoration project of the 1908 art nouveau Villa Duelfer, in Barlinek, which gradually fell into ruin after the war, presents how, in practice, this idea of antiquity was respected in that project. On the hundredth anniversary of the construction of the villa, the building, commonly referred to as the ‘Pałacyk Cebulowy‘, has lived to see its revival by sustaining its primary residential function, its architectural form and its historic values, in an urban context.

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26

Nussdorfer, Laurie. "The Ruin of the Eternal City: Antiquity and Preservation in Renaissance Rome (review)." Catholic Historical Review 98, no. 3 (2012): 561–62. http://dx.doi.org/10.1353/cat.2012.0157.

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27

Caseau, Béatrice. "THE FATE OF RURAL TEMPLES IN LATE ANTIQUITY AND THE CHRISTIANISATION OF THE COUNTRYSIDE." Late Antique Archaeology 2, no. 1 (2004): 103–44. http://dx.doi.org/10.1163/22134522-90000023.

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Throughout the Roman period the countryside was a landscape of sacred sites both monumental and natural. Rural temples were numerous and essential to the religious life of peasants and landowners. The fate of rural temples reveals something of the conflicting religious beliefs that were present in the rural landscape until the 6th c. Rural temples were among the first temples to be destroyed on some Christian estates, but in other places their power of attraction remained strong until the Early Middle Ages, even when they were in ruins. In the Early Byzantine period, however, temples were too visible, causing some Christians to lead expeditions against them. Convinced pagans searched for other, more remote, cult places to where they could maintain some form of pagan practice. These included inner sanctuaries inside their homes, or remote natural sites. Temple traditions were lost as a result.

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Adovasio, J. M., D. C. Hyland, and Rhonda L. Andrews. "Perishable Industries from Nan Ranch Ruin, New Mexico: A Unique Window into Mimbreño Fiber Technology." North American Archaeologist 26, no. 2 (April 2005): 165–207. http://dx.doi.org/10.2190/awy1-txrl-vrdd-qjb7.

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Although the ceramic repertoire of the Mimbres has been extensively studied, illustrated, and published for over a century, Mimbreño perishables technology is poorly known. Detailed analysis of the small but highly informative plant-fiber artifact assemblage from NAN Ranch, New Mexico, permits the first characterization of Mimbres perishables production and use while affording the opportunity to establish the general outlines and salient events of the evolution of Mogollon perishables production. This developmental sequence is rooted in a local Archaic base of venerable antiquity but is strongly influenced by the introduction of “new” techniques and forms from northern Mexico at a time coextensive with the spread of agriculture into this portion of the greater American Southwest.

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29

Fulford, M. G. "To East and West: the Mediterranean Trade of Cyrenaica and Tripolitania in Antiquity." Libyan Studies 20 (January 1989): 169–91. http://dx.doi.org/10.1017/s0263718900006683.

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In the context of the North African littoral Cyrenaica and Tripolitania appear almost as fertile islands, surrounded by desert on three sides and the Mediterranean to the north (Fig. 1). Between Cyrenaica and Egypt the desert runs to the sea, while between Cyrenaica and Tripolitania lies desert which stretches up to the shores of the Gulf of Sirte. Only to the west of Tripolitania is there a thin coastal strip of cultivable land which runs past the island of Djerba, turning north past Gabes to the productive lands of central Tunisia. As the crow flies only some 350 miles (450 km) separate Berenice (Benghazi), the most westerly of the cities of Cyrenaica from Lepcis Magna, her nearest neighbour among the Tripolitanian cities. While a land-route existed along the north African coast, the destinations it offered were clearly limited. Transport by sea not only offered the opportunity for the most economical long distance movement of bulk commodities such as grain, olive-oil and wine — the staples of the ancient world — but it also presented a greater range of possible destinations.

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Gordon, Benjamin D., and Zeev Weiss. "Samuel and Saul at Gilgal: a new interpretation of the Elephant mosaic panel in the Huqoq synagogue." Journal of Roman Archaeology 31 (2018): 524–41. http://dx.doi.org/10.1017/s1047759418001502.

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The mosaic carpets decorating Palestinian synagogues in late antiquity took various forms but tend to focus on three recurring visual themes: the zodiac, a motif with origins in Greco-Roman religious art; the Jerusalem Temple, long in ruins but still very much alive in the Jewish imagination; and the Biblical story, often classics and easily identifiable to those well-versed in scripture. The latter was the programmatic focus of the frescoes of the Dura Europos synagogue and would maintain hegemony in episodic art on synagogue floors through late antiquity. The paradigm was thought to have shifted in 2013-14 when excavations at Huqoq uncovered a mosaic panel featuring war elephants that was claimed to portray the first extra-Biblical scene ever found in an ancient synagogue. Huqoq was a thriving Jewish village in the Late Roman period. Its basilica-type synagogue was paved twice with mosaic, the earlier of which is better preserved and includes the “elephant panel”. Most of the rest of the floor has not been fully published, although news releases and preliminary reports mention them and assign the floor a date in the 5th c. The floor does include well-known Biblical scenes along with a zodiac panel and two undated dedicatory inscriptions with decorative framing elements that include putti.

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Heringman, Noah. "Picturesque ruin and geological antiquity: Thomas Webster and Sir Henry Englefield on the Isle of Wight." Geological Society, London, Special Publications 317, no. 1 (2009): 299–318. http://dx.doi.org/10.1144/sp317.17.

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Baudez, Basile. "Piranesi’s Lost Words by Heather Hyde Minor, and: Speaking Ruins: Piranesi, Architects, and Antiquity in Eighteenth-Century Rome by John A. Pinto." Eighteenth-Century Studies 49, no. 4 (2016): 536–39. http://dx.doi.org/10.1353/ecs.2016.0037.

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Malamud, Martha. "Vandalising Epic." Ramus 22, no. 2 (1993): 155–73. http://dx.doi.org/10.1017/s0048671x00002496.

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William Levitan concluded a study of the fourth century poet Optatian with the sentence, ‘The marble bones of Rome itself were chopped for a thousand years to raise the buildings of Europe.’ The theatres, baths and other edifices constructed by the Romans never wholly perished; they served the local populations for centuries as quarries for building materials. The writers of late antiquity treated the Latin literary tradition the same way that later inhabitants treated the ruins of Roman buildings, as a source for appropriate building blocks. The dismemberment of magnificent structures, whether architectural or literary is, to be sure, a kind of vandalism, but perhaps in the post-modern, resource-hungry world of the mid-1990's we can bring ourselves to think of it as something more positive, as an attempt to salvage and recycle valuable material.

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ROSE, MARICE E. "THE TRIER CEILING: POWER AND STATUS ON DISPLAY IN LATE ANTIQUITY." Greece and Rome 53, no. 1 (April 2006): 92–109. http://dx.doi.org/10.1017/s0017383506000064.

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The fourth-century painted ceiling at Trier, Germany was destroyed less than two decades after it was decorated, yet today it is one of the best-known monuments of Late Antique Gaul (figure 1). In excavations begun by Theodor Kempf in 1945, archaeologists collected the ceiling's fragments from the ruins of a Roman house beneath the city's Romanesque cathedral. Painstaking assembly of the plaster fragments into their original form was completed in 1980. Now displayed in the Trier Episcopal Museum, the ceiling is a rare example of Late Antique domestic painting. It comprises fifteen trompe l'oeil coffers which are outlined by red and green borders and a yellow guilloche. Each coffer contains an image of a different subject; bust-length female and male single figures alternate with pairs of putti in various active poses.The ceiling's rarity, its mysterious, unidentified figures, and the possibility proposed by Kempf that it belonged to a palace built by the emperor Constantine have made it the subject of extensive scholarship. Because conservators assembled the ceiling over a thirty-five year span and individual scenes were published as they were completed, the first scholars of the ceiling studied sections in isolation from the whole monument. Attention first focused on the depictions of the woman with the mirror and the woman with the jewel box, because they were the first single figures to be restored and published. Many archaeologists and art historians concentrated on identifying the women as portraits of Constantine's family. Irving Lavin took a different approach and carefully addressed the painting's classicizing style. Scholars in the 1980s, with the advantage of the ceiling's completed restoration, have considered the ceiling as a thematic whole.

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35

Prey, Pierre Du. "Review: Speaking Ruins: Piranesi, Architects, and Antiquity in Eighteenth-Century Rome by John A. Pinto; Piranesi, Paestum & Soane by John Wilton-Ely." Journal of the Society of Architectural Historians 73, no. 3 (September 1, 2014): 431–34. http://dx.doi.org/10.1525/jsah.2014.73.3.431.

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36

Graffam, Gray, Mario Rivera, and Alvaro Carevič. "Ancient Metallurgy in the Atacama: Evidence for Copper Smelting during Chile's Early Ceramic Period." Latin American Antiquity 7, no. 2 (June 1996): 101–13. http://dx.doi.org/10.2307/971612.

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AbstractInvestigations at the Ramaditas site (Guatacondo Valley, northern Chile) were successful in the discovery of small quantities of ancient metallurgical slag, copper ore, and metal from sealed archaeological contexts dating to the first centuries B. C., and in the discovery of adjacent off-site furnace ruins that appear to be contemporaneous. Laboratory tests are positive in identifying both the surface and subsurface slag as a copper smelting by-product. These results are significant in that they demonstrate that copper smelting and metal manufacture were taking place in the Atacama in antiquity, constituting the first conclusive proof of what many Chilean scholars have anticipated since the early 1970s. These results support the view that the mining of minerals and the winning of metals played a valuable role in the economy of the first sedentary villages of interior Chile, in the foothills and valleys that rim the Atacama desert.

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Rautman, Marcus. "Ex Anatolia Lux: Menorahs from the Synagogue at Sardis." Journal of Ancient Judaism 11, no. 2 (October 29, 2020): 271–301. http://dx.doi.org/10.30965/21967954-12340012.

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Abstract The Sardis Synagogue is a key monument of diaspora Judaism, whose rich visual language runs through its decoration and furnishings. Votive texts, inscribed reliefs, and freestanding lampstands found in the building make clear the central importance of the menorah as a resonant religious image but also a functional object. Differences in material, size, form, and decoration reflect multiple sources for the Sardis menorahs, with imported examples apparently guiding the production of distinctive local versions over two centuries. As a group, they document the diffusion of visual ideas as well as contacts with other Jewish communities in late antiquity.

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Mariolakos, I., V. Nikolopoulos, I. Bantekas, and N. Palyvos. "ORACLES ON FAULTS: A PROBABLE LOCATION OF A “LOST” ORACLE OF APOLLO NEAR OROVIAI (NORTHERN EUBOEA ISLAND, GREECE) VIEWED IN ITS GEOLOGICAL AND GEOMORPHOLOGICAL CONTEXT." Bulletin of the Geological Society of Greece 43, no. 2 (January 23, 2017): 829. http://dx.doi.org/10.12681/bgsg.11249.

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At a newly discovered archaeological site at Aghios Taxiarches in Northern Euboea, two votive inscribed stelae were found in 2001 together with hellenistic pottery next to ancient wall ruins on a steep and high rocky slope. Based on the inscriptions and the geographical location of the site we propose the hypothesis that this is quite probably the spot where the oracle of “Apollo Selinountios” (mentioned by Strabo) would stand in antiquity. The wall ruins of the site are found on a very steep bedrock escarpment of an active fault zone, next to a hanging valley, a high waterfall and a cave. The geomorphological and geological environment of the site is linked directly to the regional geodynamical context of Central Greece, a region of tectonic turmoil throughout the Pleistocene and Holocene, characterised by distinct landscapes produced by the activity of active fault zones, intense seismicity, and in part, volcanism and hydrothermal activity. The geomorphological and geological similarities of the Ag. Taxiarches site with those of the oracle at Delphi, seem to provide further support to the hypothesis that the former site can well be that of an ancient oracle, given the recently established connections between the geological environment at Delphi and Apollo’s oracle there. Definitive verification of our hypothesis can only be obtained by further, detailed archaeological study, whereas geological/geomorphological, geochemical, and geochronological studies would be necessary to clarify the connection that the cave lying next to the wall remains may had with the site’s function.

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Plantzos, Dimitris. "Behold the raking geison: the new Acropolis Museum and its context-free archaeologies." Antiquity 85, no. 328 (May 2011): 613–25. http://dx.doi.org/10.1017/s0003598x00068009.

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In December 1834 Athens became the capital city of the newly founded Hellenic Kingdom. King Otto, the Bavarian prince whose political and cultural initiative shaped much of what modern Greece is today, sought to design the new city inspired by the heavily idealised model of Classical Hellas (see Bastea 2000). The emerging capital was from the outset conceived as aheterotopiaof Hellenism, a Foucauldian 'other space' devoted to Western Classicism in view of the Classical ruins it preserved. The Acropolis became, naturally, the focal point of this effort. At the same time, however, and as Greek nationalist strategies were beginning to unfold, Classical antiquity became a disputedtopos,a cultural identity of sorts contested between Greece on the one hand and the 'Western world' on the other (see Yalouri 2001: 77–100). Archaeological sites thus became disputed spaces, claimed by various interested parties of national or supra-national authority wishing to impose their own views on how they should be managed — and to what ends (Loukaki 2008). The Acropolis was duly cleansed from any non-Classical antiquities and began to be constructed as an authentic Classical space, anationalproject still in progress. As Artemis Leontis has argued in her discussion of Greece as a heterotopic 'culture of ruins', the Acropolis of Athens, now repossessed by architectural renovation and scholarly interest, functions'as a symbol not of Greece's ancient glory but of its modern predicament'(Leontis 1995: 40–66; see also McNeal 1991; Hamilakis 2007: 85–99).

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Currà, Edoardo, Alessandro D’Amico, and Marco Angelosanti. "HBIM between Antiquity and Industrial Archaeology: Former Segrè Papermill and Sanctuary of Hercules in Tivoli." Sustainability 14, no. 3 (January 25, 2022): 1329. http://dx.doi.org/10.3390/su14031329.

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Industrial heritage with secular production activity constitutes a specific field of application to refine digital tools for knowledge within the HBIM (Heritage Building Information Modeling) process. Industrial sites are traditionally linked to the exploitation of local resources, and, not infrequently, are settled by recovering the ruins of ancient buildings and monuments. The Sanctuary of Hercules in Tivoli represents a significant case study that moves between classical and industrial archaeology, in particular the “Cartierà Segrè”, hereinafter referred to as former Segrè papermill, to test ArchaeoBIM concepts and to investigate current and lost heritage. Starting from the documents and the digital survey with the use of UAV videogrammetry, the aim is the construction of the informative model with particular attention to the 4D management to describe the evolution phases and the exploration of the construction specificities of buildings and machines between pre-modern techniques and industrial age. The results show the possibility of creating a diachronic HBIM to investigate a complex industrial heritage, its evolution and production phases, modeling components for this type of architecture, with the deepening of the LOD of BIM (Building Information Modeling) instances applied to machines. The application represents an augmented knowledge process applicable on industrial heritage through modeling instances of machines and industrial processes that would allow regional and transnational cross-sectional studies and the enhancement of fruition and reuse of these sites.

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41

Frank, Nathan Dwight. "Recrafting Israel." biblical interpretation 23, no. 3 (July 6, 2015): 316–39. http://dx.doi.org/10.1163/15685152-00230a02.

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This paper argues that the strong desire to ascribe the status of nation to the Israel of the Hebrew Bible – a tendency that makes sense in terms of how the biblical text is presented and in terms of contemporary discourse that seeks to advance theories of nations and nationalism – inevitably runs up against a number of theoretical challenges, which compound in light of biblical Israel’s antiquity. Given these challenges, I propose an approach to the nation whereby the biblical Israel is “recrafted” according to an “ethnotechnical” dynamic: a neologistic attempt to fuse the schools of nationalist theory such that a primarily modernist social-science theory of the biblical nation of Israel still finds traction in the antiquity of ethnosymbolism and primordialism. Following Donna Haraway’s literary assertion that “myth and tool mutually constitute each other” (a statement made in calling postmodern feminists to action), I argue that myth and artifice (and myth as artifice) combine in an ethnotechnical device by which nations are called to retroactively inscribe themselves, and then to continue reinscribing themselves. Such a move simultaneously enhances our biblical readings and informs our understanding of collective identities; in short, it satisfies the strong desire.

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Hoffmann, Thomas. "Either Too Little or Too Much." Religion & Theology 21, no. 1-2 (2014): 159–72. http://dx.doi.org/10.1163/15743012-02101008.

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On a theoretical level, the article investigates sexually orientated discourses as a means to censure and demonise other religious communities than one’s own whilst staging one’s own religious community as the most “natural” and “liberal” example. With reference to the works of Michel Foucault and Edward Said it is thus argued that seemingly liberal and lenient attitudes towards sexuality can be exploited in an intolerant and hegemonic fashion. On an empirical level, this paradoxical dynamic is investigated in relation to Islam, Judaism and the so-called Western world. In terms of historical periods, late antiquity and (late) modernity are adduced. It is demonstrated that early and classical Islam styled itself as sexually liberal and easy-going over and against an alleged puritanical and rigid Judaism. In late modernity, in a Muslim European diaspora setting, it is demonstrated that Islam has fallen prey to the very same sexual “liberal” tactics as was perpetrated in late antiquity; that is, being castigated for being puritanical and rigid. However, contemporary Muslims are caught in a double bind since the charges against their alleged puritanism and bigotry runs parallel with charges against an alleged excessive and transgressive patriarchal sexuality.

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Eng, Daniel K. "“The Refining of Your Faith”?: Metallurgic Testing Imagery in James." Bulletin for Biblical Research 32, no. 2 (July 1, 2022): 182–201. http://dx.doi.org/10.5325/bullbiblrese.32.2.0182.

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Abstract This article proposes that (1) the author of James uses metallurgic imagery in the opening exhortation and (2) a thematic thread runs through Jas 2:1–3:12 in light of the two inextricable qualities of precious metals: genuineness and purity. This case is supported by an examination of the key terms δοκίμιον and δόκιμος in Jas 1, the testing/refining process of precious metals in antiquity, and usage of metallurgic imagery in Jewish and early Christian literature. After making a case for this concept in the prologue and Jas 2:1–3:12, I suggest that the theme also tacitly recurs in other parts of the epistle.

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Koehl, M., M. Fuchs, T. Nivola, J. Koch, L. Cartier, and S. Soussoko. "WHEN ROMAN ANTIQUITY AND RENAISSANCE CAME TOGETHER IN VIRTUAL 3D ENVIRONMENT: 3D MODELLING CONSIDERATIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B4-2020 (August 25, 2020): 607–14. http://dx.doi.org/10.5194/isprs-archives-xliii-b4-2020-607-2020.

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Abstract. This paper is a review of the modelling of two edifices located in a city which developed on the vestiges of a Roman city during antiquity endowed in the 4th century with a military camp. The term castellum is used for the first structure. A second structure concerns the remains of a castle dismantled at the end of the 17th century, which was generally known only by an engraving in perspective made shortly before its demolition, and the cadastral matrix that had preserved the traces of its right-of-way. It is a Renaissance castle built in the 16th century by the Württemberg family in the northeast corner of the ruins of the castellum. The projects contain a first part of data analysis and interpretation based on available documents. Similar sites close in terms of architecture, geographical location and construction period were also visited to get inspiration from them and to be able to make proposals for restitution. Despite the lack of data available, the multidisciplinary aspect of these projects is very important. In fact, the experience of archaeologists and the monitoring of modelling throughout its progress is essential to work out models that are both justifiable, at the level of the proposals made and sufficiently complete to be able to be highlighted. Once the models validated, they are integrated in a virtual way into the contemporary urban environment, through an interactive virtual tour. This paper reviews the principles implemented during the modelling, the rendering and the valorisation of the models thru virtual tours and AR/VR implementation.

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Bjørnerud Mo, Gro. "Collecting uncollectables: Joachim Du Bellay." Culture Unbound 9, no. 1 (September 4, 2017): 23–37. http://dx.doi.org/10.3384/cu.2000.1525.179123.

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Lists of wonders have circulated for millennia. Over and over, such inventories of spectacular man made constructions have been rewritten, re-edited and reimagi-ned. Both the wonders and the lists of wonders, preferably of the seven, have had a profound and long-lasting effect, and have been abundantly imitated, copied and reworked. Renaissance creative thinking was obsessed with the seven wonders of the ancient world, and early-modern Europe experienced a surge of visual and verbal depictions of wonders. This article is about a remarkable list of seven wonders, included in one of Joachim Du Bellay’s canonical poems on Roman antiquities (Antiquités de Rome), published in Paris in 1558. Du Bellay shapes his list of wonders by exploring pat-terns of both repetition and mutability. Almost imperceptibly, he starts suggesting connections between 16th-century Rome and distant civilizations. Through the eyes of a fictive traveller and collector, the poet venerates the greatness and la-ments the loss of ancient buildings, sites and works of art, slowly developing a ver-bal, visual and open-ended gallery, creating a collection of crumbling or vanished, mainly Roman, architecture. This poetic display of ruins and dust in the Eternal City is nourished by the attraction of the inevitable destruction of past splendour and beauty. In the sonnets, Du Bellay imitates classical models and patterns. Whi-le compiling powerful images and stories of destruction, he combines techniques associated with both a modern concept of copy and more ancient theories of co-pia. In this context, this article also explores whether Pliny’s Natural History might be a source for the imaginary collection of lost sites and wonders in Du Bellay’s Antiquités.

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Kytzler, Bernhard. "Fidus Interpres: The Theory and Practice of Translation in Classical Antiquity." Antichthon 23 (1989): 42–50. http://dx.doi.org/10.1017/s0066477400003671.

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‘One of the unwritten chapters in the literary history of antiquity is that providing a comprehensive account of (ancient) translation.’ This statement still holds true after 20 years, and so this study will inevitably lack completeness; all it can aim at is to try to give an outline of what one might consider to be the most important issues concerning our theme.To underline the vast quantity of material concerning our topic we might refer to a list entitled ‘Greek works translated into Latin before 1350’. This list is restricted to philosophical works only, omitting all other fields such as medicine, law, mathematics, theology, and liturgy. Nevertheless even this limited list gives the names of no less than 119 authors whose philosophical works in Greek were translated into Latin; the space needed for Aristotle alone runs to more than five pages. Thus it is easy to estimate what an enormous number of Latin translations there were, and what countless efforts must have been taken over more than one and a half millennia for this kind of literary work. One may add that there is a very helpful collection of some 90 testimonia covering the time of St. Augustine, in the book of Heinrich Marti, Übersetzer der Augustin-Zeit. There is also the basic study of Jiȓi Levỳ, which deals with modern theory, and outlines all the problems and all the facts of the art of translation.

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Tasheva, Iveta. "[Medical Connotations in the Term “Crisisˮ". Chuzhdoezikovo Obuchenie-Foreign Language Teaching 49, № 2 (25 квітня 2022): 189–93. http://dx.doi.org/10.53656/for22.241medi.

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This paper attempts to show how medical terminology and medical connotations mark concepts that later become central to philosophical, cultural, political, and social discourse. In this case, the chosen concept is the notion of crisis, which has been central to medicine since antiquity, has marked with meanings all subsequent epochs, and has become significant for our entire modernity. In short, it shows how medical connotations carry over to unrestricted uses in the broader context of language, and the concept of crisis is open to uses of different orders and in diverse contexts. To arrive at the conviction that its use as a metaphor for states of decline, failure, degeneration, ruin prevails. It is said to be a crisis, but as in medicine, it refers to deterioration.

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Solounias, Nikos, and Adrienne Mayor. "Ancient References to the Fossils from the Land of Pythagoras." Earth Sciences History 23, no. 2 (January 1, 2004): 283–96. http://dx.doi.org/10.17704/eshi.23.2.201m4848211mj244.

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Ancient people, as indicated by a few myths, knew of the vertebrate fossils from Samos, an island of Greece. The ancient Greeks interpreted these fossils as the remains of Neades, strange exotic beasts, or of the Amazons who perished in battle. Some of the fossils have been found in the ruins of a temple where they had been gathered for display. The red soil in which the fossils were found was explained as from blood spilled during a bloodbath. Furthermore, the Greeks had correlated geologic faults to earthquakes. The myths clearly state that they also had a sense of deep time (the great antiquity of the fossils). They named two bone beds because of the fossils: Panaima and Phloios respectively. These are proper names given in upper case letters in the myths. In Greek, Panaima means bloodbath and Phloios means thick and hard crust. Phloios is located in a ravine named Adrianos, which is a non-Greek name. Small ravines rarely have names in Greece, especially foreign names, and we explain the name as the renaming of Phloios by the Roman emperor Hadrian. Hadrian is known to have collected fossils near Troy and may have visited Samos.

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Brown, Amelia Robertson. "Antiquarian knights in Mediterranean island landscapes: the Hospitaller Order of St John and crusading among the ruins of classical antiquity, from medieval Rhodes to early modern Malta." Journal of Medieval History 47, no. 3 (May 27, 2021): 413–32. http://dx.doi.org/10.1080/03044181.2021.1930446.

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Chilidis, Konstantinos. "Yannis Hamilakis, The Nation and its Ruins: Antiquity, Archaeology, and National Imagination in Greece (Oxford: Oxford University Press, 2007, 352 pp., ISBN 978 0 19 923038 9)." European Journal of Archaeology 10, no. 2-3 (2007): 233–35. http://dx.doi.org/10.1179/eja.2007.10.2-3.233.

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