scholarly journals Zbigniew Herbert’s Journeys to the South. A Conversation with Andrzej Franaszek and Francesco Matteo Cataluccio, Conducted by Krystyna Pietrych (during the discussion panel at the 12th ‘Puls Literatury’ Festival in Łódź, 8 December 2018)

2019 ◽  
pp. 407-420
Author(s):  
Francesco Matteo Cataluccio ◽  
Andrzej Franaszek ◽  
Krystyna Pietrych
Keyword(s):  
The South ◽  
Mediterranean Culture ◽  
The Mediterranean ◽  
Literary Output ◽  
Discussion Panel ◽  
South Of Europe ◽  
Dividing Line

The topic of a conversation of three literary scholars which took place in the last months of the Zbigniew Herbert Year (2018) is the experience recorded in the poet’s poems and essays of the Mediterranean culture, antiquity as a tool of cognition, an important code as well as the experience of his real journeys to the south of Europe being a kind of dividing line in his literary output and resonating in it.

scholarly journals 4. Note on the Zodiacal Light

1875 ◽  
Vol 8 ◽  
pp. 55-55
Author(s):  
George Forbes
Keyword(s):  
Bay Of Biscay ◽  
The South ◽  
Zodiacal Light ◽  
Vernal Equinox ◽  
Great Height ◽  
The Mediterranean ◽  
South Of Europe ◽  
Periodic Changes

A peculiarity was observed about the vernal equinox in 1871 in the shape of the zodiacal light, which deserves to be recorded. The appearance resembled a thin cone (such as is usually seen), extending to a great height, and-rising out of a broad low cone situated at its base. This was not an effect of sunlight, for it was visible hours after sunset. It was not peculiar to any time or place, for it was seen constantly in all parts of the south of Europe, viz., in the Bay of Biscay, all along the Mediterranean, in Malta, and in Sicily. It seems not unlikely that there are periodic changes in the appearance of the zodiacal light. Hence it is well to mention any such peculiarity. I have also to confirm what has so often been stated by other observers, that the direction of the axis of the cone is not always in the direction of the ecliptic, but changes its direction from night to night.

scholarly journals On the hyssop of scripture

1851 ◽  
Vol 5 ◽  
pp. 510-510
Keyword(s):  
The South ◽  
Capparis Spinosa ◽  
History Of ◽  
The Mediterranean ◽  
South Of Europe

Many attempts have at different times been made, by various authors, to identify the plant which, in our authorized version of the Scriptures, is translated Hyssop . The author enters at large into the history of the speculations of former writers on this subject; and after an elaborate investigation, is led to the conclusion that this plant is the Capparis spinosa of Linnæus, or Caper plant, a shrub abundantly met with in the south of Europe, where it appears to be indigenous, and also generally on the islands and coasts of the Mediterranean, as well as in Lower Egypt and in Syria.

Middle Bronze Age Long Distance Exchange through Europe and Beyond

2020 ◽  
Vol 26 (2) ◽  
pp. 266-274
Author(s):  
Flemming Kaul
Keyword(s):  
Chemical Composition ◽  
Bronze Age ◽  
Glass Beads ◽  
The South ◽  
Long Distance ◽  
Blue Glass ◽  
The North ◽  
Southern Scandinavia ◽  
Middle Bronze Age ◽  
The Mediterranean

Abstract The introduction of the folding stool and the single-edged razor into Southern Scandinavia, as well as the testimony of chariot use during the Nordic Bronze Age Period II (1500-1300 BC), give evidence of the transfer of ideas from the Mediterranean to the North. Recent analyses of the chemical composition of blue glass beads from well-dated Danish Bronze Age burials have revealed evidence for the opening of long distance exchange routes around 1400 BC between Egypt, Mesopotamia and South Scandinavia. When including comparative material from glass workshops in Egypt and finds of glass from Mesopotamia, it becomes clear that glass from those distant lands reached Scandinavia. The routes of exchange can be traced through Europe based on finds of amber from the North and glass from the South.

scholarly journals Los bronces orientalizantes del Museo de Huelva : El "Thymaterion" de la Joya

1999 ◽  
Author(s):  
Elena María Orta García
Keyword(s):  
The Other ◽  
East Mediterranean ◽  
The South ◽  
Municipal District ◽  
Other Hand ◽  
La Joya ◽  
The Mediterranean ◽  
Archaeological Excavations

Se trata en esta serie de «Los Bronces orientalizantes del Museo de Huelva» de realizar un estudio estilístico y de los programas iconográficos, de una serie de objetos de bronce, recuperados en las excavaciones arqueológicas de La Joya, en el término municipal de la ciudad de Huelva, que se exhiben o conservan en el Museo de Huelva. Si bien estos bronces fueron publicados dentro de su contexto en las correspondientes Memorias de la Serie E.A.E. no han sido objeto de un estudio pormenorizado. Por otra parte cuando tratamos de comprender la difusión del Arte clásico en la periferia del Mediterráneo siguiendo a Boardman' nos damos cuenta de las lagunas que existen a la hora de comprender cómo llega al sur peninsular esta corriente artística, que proviene del Mediterráneo oriental y que comienza a conformar lo que los especialistas han dado en llamar el arte tartésico y en el que hunde sus raíces sin duda el llamado arte ibérico. Nuestro estudio de hoy se ciñe al de una pieza única y singular, el Thymaterion o candelabro de La Joya, objeto suntuario de arte orientalizante de los siglos VIII-VII a. de C, probable obra de un metalurgo tartéssico. We try in this series «Orientaiizing bronzes of Huelva Museum» to accomplish a stylistic study and also of the inocographic programmes, of a series of bronze objects, recuperated in the archaeological excavations of «La Joya», in the municipal district of Huelva city, that are shown or kept in Huelva Museum. Though these bronzes were published in their context in the memoirs of the Series E.A.E. they have not been studied in deep one by one. On the other hand when we try to understand the diffusion of Classical Art in the outskirts of the Mediterranean, following Boardman we realise of the missing that exist when we try to understand how this artistic influence reaches the south of the península, that comes fron the East Mediterranean and that begins to shape what the specialists have begun to name as «Tartessic Art» in which the «Iberian Art» has its origins.

scholarly journals Assessing the suitability of recovering shrub biowaste involved in wildland fires in the South of Europe through torrefaction mobile units

2019 ◽  
Vol 236 ◽  
pp. 551-560 ◽  
Author(s):  
María González Martínez ◽  
Capucine Dupont ◽  
Denilson da Silva Perez ◽  
Luis Míguez-Rodríguez ◽  
Maguelone Grateau ◽  
...  
Keyword(s):  
Wildland Fires ◽  
The South ◽  
South Of Europe

Caesar: De Bello Gallico, Book I, cc. 1–41

1935 ◽  
Vol 5 (13) ◽  
pp. 12-21
Author(s):  
A. G. Russell
Keyword(s):  
Military Intervention ◽  
Fourth Century ◽  
Second Century ◽  
Lake Geneva ◽  
The South ◽  
Jura Mountains ◽  
Maritime Alps ◽  
South West ◽  
The Mediterranean

From about the fourth century b.c. Rome had a long-standing alliance with the Greek colony of Massilia (Marseilles) whose territory was constantly raided by southern Gallic tribes; these incursions called for military intervention from the Romans from the middle of the second century, culminating in a series of successful campaigns, the enlargement of Massilia's territory, the founding of the colony of Aquae Sextiae (Aix, 30 miles north of Marseilles), and the annexation of southern Gaul in 121 b.c. after the defeat of the Allobroges and Arverni. The province stretched from the Pyrenees up to Tolosa (Toulouse), then the frontier skirted the Cevennes to the Jura Mountains and the south-west corner of Lacus Lemannus (Lake Geneva); then it came in a south-south-easterly line to the Mediterranean coasts, by the Maritime Alps. It formed a very valuable corridor from Italy to Spain, and through it ran the Via Domitia beyond the Rhone; in 118 b.c. Narbo Martius (Narbonne) was founded, and so flourishing a Roman civilization grew up that Pliny later described it as ‘Italia verius quam provincia’.

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