scholarly journals Atenica: u potrazi za izgubljenim spalištem

2016 ◽  
Vol 11 (3) ◽  
pp. 645
Author(s):  
Staša Babić ◽  
Zorica Kuzmanović
Keyword(s):  
Cultural Context ◽  
The Other ◽  
Human Sacrifice ◽  
Special Significance ◽  
Technical Aspects ◽  
Other Hand ◽  
Circular Line ◽  
Archaeological Excavations

Symbolic and cult practices of a community undoubtedly play an important role in the formation of funerary contexts. On the other hand, in the absence of written records on these practices, archaeologists are inclined to base their interpretations upon generalized and simplified ideas on “primitive cults”, such as “solar cult”. In this line of inference, technical aspects of the record are neglected in order to obtain the preconceived symbolic “messages”. Among the princely graves of the Central Balkans, the mounds in Atenica near Čačak have long represented the only example of this type of funeral investigated in the course of systematic archaeological excavations; therefore, numerous researchers have devoted special attention to the construction of these tumuli and the possibilities of interpretation of the rites performed there. In this respect, special significance is assigned to the so-called “ritual area” of the mound II – three rectangular areas bordered by rows of pebbles, with conical pits filled by dark earth, fragments of pottery and burnt bones. The interpretations have ranged from the ideas about cremated human sacrifice, over a replica of a sanctuary, to the complex symbolic of solar cult, expressed in numeric regularities. On the other hand, since the buried individuals are cremated, the areas defined as funerary pyres have been identified in both mounds – relatively small crescent-shaped areas of pebbles with traces of burning. Practical incongruence stemming from this interpretation has remained unexplored, in the effort to link the complex ritual of cremation to the symbolic ideas perceived as appropriate for the cultural context of the Atenica burials – human sacrifice, solar cult. In the circular line of argument, more or less implicitly, these ideas have been applied as the starting premises for the wider interpretation of the cult practices of the community whose exceptional members were buried under the mounds near Čačak.

“Missa Grecorum” “Missa Sancti Iohannis Crisostomi”: The Oldest Latin Version Known of the Byzantine Liturgies of St. Basil and St. John Chrysostom

Traditio ◽  
1943 ◽  
Vol 1 ◽  
pp. 79-137 ◽  
Author(s):  
Dom Anselm Strittmatter
Keyword(s):  
Twelfth Century ◽  
The Other ◽  
Special Significance ◽  
Other Hand ◽  
John Chrysostom ◽  
Ancient Manuscripts ◽  
Latin Version

The following Latin version, hitherto unpublished, of the Byzantine Liturgies of St. Basil and St. John Chrysostom was generously placed at my disposal by my confrère, the late lamented Dom André Wilmart, O.S.B., who about seventeen years ago discovered and transcribed it from a manuscript purchased at London in 1899 by the Bibliothèque Nationale:Nouv. Acq. lat. 1791Since the manuscript was written in the second half of the twelfth century, this translation is—to put it roughly—at least as old as that of the Liturgy of St. John Chrysostom (= X) made at Constantinople about 1180 by the Pisan interpreter, Leo Tuscus, or that of the Liturgy of St. Basil (= B) made shortly afterward by Nicholas of Otranto. But it is important to note at the outset that the present translation represents a considerably earlier redaction of the Liturgies than do the two aforesaid versions, for we have here, as in the earliest of our manuscripts, theBarberinum S. Marci(=BSM), and several others, the prayers of the celebrant only and a corresponding minimum of rubrics. Of special significance, moreover, are the two following facts: first, the precedence given to B, an arrangement found in comparatively few manuscripts, among them the oldest which we know; and secondly, the occurrence in this same Liturgy of ancient rubrics and of the ancient form of at least one exclamation of the deacon, which point to a very early recension as the original from which the translator worked. On the other hand, over against this ancient form stands a relatively modern text, for not only are certain prayers which appear in the most ancient manuscripts only, missing from this translation, but in those few prayers also in the tradition of which it is possible to distinguish an older from a more recent set of readings, it is the latter which are almost invariably found. Similarly, the indication of certain acclamations by the initial words only (an ancient trait) and the writing out of the ἐκΦωνήσ∊ις in full (a very late practice) constitute another combination of ancient and recent features. But to attempt on the basis of these characteristics to fix the date of either the original or the translation, is to face possibilities only, concerning which it would be useless to speculate.

Devotio and human sacrifice in archaic Italy and Rome

2021 ◽  
Vol 60 (3-4) ◽  
pp. 363-398
Keyword(s):  
Crucial Role ◽  
The Other ◽  
Human Sacrifice ◽  
Roman Religion ◽  
Other Hand ◽  
Mona Island ◽  
Narrow Definition ◽  
Definition Of ◽  
Father And Son ◽  
Very High

Abstract The Roman father and son of the same name, P. Decius Mus, became paragon heroes by deliberately giving their lives in battle that Rome might win over a fierce enemy. Both engaged in a special ritual called devotio (from which our word “devotion” derives) to offer themselves to the gods of the Underworld, with whom regular people have very little interaction and to whom they rarely sacrifice. While the Mus family is the most famous for this act, it turns out the willingness to sacrifice oneself for Rome frequently occurs within stories of great patriots, including the story of Horatius Cocles, Mettius Curtius, Atilius Regulus, and even the traitors Coriolanus and Tarpeia. Romans regarded self-sacrifice as a very high, noble endeavor, whereas they loathed and persecuted practitioners of human sacrifice. It is therefore quite amazing to read that the Romans thrice engaged in state-sponsored human sacrifice, a fact they rarely mention and generally forget. The most famous enemy practitioners of human sacrifice were the Druids, whom the Romans massacred on Mona Island on Midsummer Night's Eve, but the Carthaginians, the Germans, the Celts, and the Thracians all infamously practiced human sacrifice. To Romans, the act of human sacrifice falls just short of cannibalism in the spectrum of forbidden practices, and was an accusation occasionally thrown against an enemy to claim they are totally barbaric. On the other hand, Romans recognized their own who committed acts of self-sacrifice for the good of the society, as heroes. There can be no better patriot than he who gives his life to save his country. Often the stories of their heroism have been exaggerated or sanitized. These acts of heroism often turn out to be acts of human sacrifice, supposedly a crime. It turns out that Romans have a strong legacy of practicing human sacrifice that lasts into the historic era, despite their alleged opposition to it. Numerous sources relate one story each. Collecting them all makes it impossible to deny the longevity of human sacrifice in Rome, although most Romans under the emperors were probably unaware of it. The paradox of condemning but still practicing human sacrifice demonstrates the nature of Roman religion, where do ut des plays a crucial role in standard sacrifice as well as in unpleasant acts like human sacrifice. Devotio was an inverted form of sacrifice, precisely because it was an offering to the gods of the Underworld, rather than to Jupiter or the Parcae. Romans may have forsaken devotio, but they continued to practice human sacrifice far longer than most of us have suspected, if one widens the current narrow definition of human sacrifice to include events where a life is taken in order to bring about a better future for the commonwealth, appease the gods, or ensure a Roman victory in battle.

scholarly journals The marble head of a statuette from Mediana (excavations in 2001)

Starinar ◽  
2013 ◽  
pp. 237-243
Author(s):  
Bojana Plemic
Keyword(s):  
Eastern Mediterranean ◽  
The Other ◽  
Other Hand ◽  
Archaeological Excavations

During the archaeological excavations in Mediana in 2001, the head of a marble statuette of exceptional beauty and craftsmanship was discovered. It was an isolated discovery, the sculpture probably having been imported from some Greek artistic centre or an eastern Mediterranean workshop, presenting a part of a larger ensemble of sculptures that had adorned an imperial villa with peristyle. Since the head was found in pieces and being just part of a sculptural representation with no reliable attributes, the question of its identification is a difficult task. It was possible to determine, using stylistic traits' analysis that the statuette was made under the influence of Hellenistic cult sculpture, namely that it followed the rules of the school of Praxiteles. On the other hand, the iconographic elements, in particular that of the hairstyle, lead us to the conclusion that this statuette could represent one of two Roman goddesses, either Venus or Diana.

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 Evolution of Lyrical Image in Ballets of Azerbaijani Composers

2021 ◽  
Vol 4 (2) ◽  
pp. 179-187
Author(s):  
Lala Huseynli
Keyword(s):  
Cultural Context ◽  
The Other ◽  
Musical Culture ◽  
Specific Content ◽  
Historical Approach ◽  
Historical Method ◽  
Other Hand ◽  
History Of ◽  
First Time

This article is devoted to the study of the evolution of the lyrical image in the ballets of Azerbaijani composers. The presented article emphasizes that the Azerbaijani ballet on the extension of the history of the Azerbaijani school of composition functioned indefinitely as an important component of the Azerbaijani musical culture. The theme of this article is actualized in the aspect of the historical approach, as each ballet of Azerbaijani composers, on the other hand, reflected the significant features of the artistic, historical and cultural context. On the other hand, the study of the evolution of the lyrical image in the Azerbaijani ballets reflects the dynamics of the development of the Azerbaijani school of composition. Moreover, the figurative system in Azerbaijani ballets represents the slender line of artistic connections of Azerbaijani culture. The purpose of the research is to study the role of the lyrical image in the evolution of the Azerbaijani ballet. The research methodology is based is based on the use of a historical approach to determine the basic definitions of the study. The expediency of the historical method is due to the fact that the development in the space of historical time should be based on certain basic categories that would reflect the school of composition, its national specifics. The scientific novelty of the research is that for the first time the peculiarities of the evolution of the lyrical image in Azerbaijani ballets – from its origin to modern functioning – are analyzed; the nuances of style creation in the Azerbaijani school of composers in the specified aspect are considered, and also certain art processes are systematized. Conclusions. It is proved that the combination of deep lyricism with dramatic emotions is characteristic of the transfer of lyricism in the drama of ballets at all historical stages of development, in different stylistic contexts. Lyrical images in the ballets of Azerbaijani composers have similar features and are due to the specific content of the national worldview.

Autonomy and presupposition in architecture: Lebbeus Woods' Berlin and Sarajevo projects

2013 ◽  
Vol 17 (2) ◽  
pp. 131-137
Author(s):  
Carolyn Fahey
Keyword(s):  
Ludwig Wittgenstein ◽  
Cultural Context ◽  
The Other ◽  
Real Solution ◽  
Theoretical Position ◽  
Other Hand ◽  
The People ◽  
Logical Impossibility

The architectural theories of Lebbeus Woods present a number of philosophical problems. Of particular interest in this paper is Woods' thinking about autonomy and self-determinism in architecture. He claims that the architect should ‘recognise his own autonomy’ before ‘designing for other self-determining individuals’. The logical impossibility inherent in the juxtaposition of these claims is investigated with reference to the philosophy of Ludwig Wittgenstein.Wittgenstein provides a critique of metaphysics that is based on a strong valuing of socio-cultural context. Woods, on the other hand, proposes theoretical accounts of architecture that contain the fallacious appeal to autonomy. The appeal, however logically false, is critical to the theoretical position cast in terms of ‘heterarchy’. The appeal also supports the presupposition of society and culture that in turn allows for a sense of architectural solution. In the case of Woods' proposals for Berlin and Sarajevo projects, it is shown that the sense of architectural solution cannot amount to a real solution to the socio-cultural problems facing the people of these war torn cities.

TECHNICAL ASPECTS IN DARK MATTER DIRECT DETECTION

2013 ◽  
Vol 23 ◽  
pp. 309-313
Author(s):  
R. BERNABEI ◽  
P. BELLI ◽  
A. DI MARCO ◽  
F. MONTECCHIA ◽  
F. CAPPELLA ◽  
...  
Keyword(s):  
Dark Matter ◽  
Direct Detection ◽  
Theoretical Models ◽  
The Other ◽  
Technical Aspects ◽  
Other Hand ◽  
The One

In the field of dark matter direct detection, on the one hand, it is predicted by theoretical models that many dark matter candidates and scenarios are possible. On the other hand, a variety of detectors has been proposed, but most of them — by the fact — are still at R&D stage. Such a situation leads to some considerations on technical aspects on dark matter direct detection.

scholarly journals Kulturaspekter i teknisk oversættelse – en ny runde i et gammelt spil

2017 ◽  
Vol 15 (28) ◽  
pp. 179
Author(s):  
Peter Kastberg
Keyword(s):  
Technical Communication ◽  
Cultural Context ◽  
The Other ◽  
Domain Specific ◽  
Other Hand ◽  
The One ◽  
Point Of Departure ◽  
Clear Line

My point of departure is opposition towards what seems to be a stereotypical notion of technical communication; namely that it is an instance of domain-specific communication devoid of cultural context, a cultural tabula rasa, so to speak. The main focus of this article is to discuss critically this notion and – on the basis of this diskussion – to point to the drawing of a clear line between the technical matter on the one hand and the textualization of technical matter on the other hand.

scholarly journals Praktik Seksualitas Menyimpang Masyarakat Muslim-Minangkabau: Kajian Neo-Historisisme terhadap Film Titian Serambut Dibelah Tujuh

2020 ◽  
Vol 4 (2) ◽  
pp. 160
Author(s):  
Dedi Arsa
Keyword(s):  
Cultural Context ◽  
Social Reality ◽  
Public Spaces ◽  
The Other ◽  
Literary Texts ◽  
Space And Time ◽  
Old Order ◽  
Other Hand ◽  
History Of ◽  
Deviant Sexuality

<p><em>This article discusses the practices of deviant sexuality in the Muslim-Minangkabau community depicted in early Indonesian films in relation to the socio-cultural context in the film as well as the socio-cultural context when the film was produced. The film in question is </em>Titian Serambut Dibelah Tujuh<em> by Asrul Sani. In this film some of the deviant practices of sexuality depicted are homosexuality, lesbianity, and hypersexuality (through the practice of rape). Using a neo-historicalism approach, which looks at the relation of literary texts (films) to their historical space and time, the narratives in this film relate to the context of their presence in the midst of Indonesian social reality and the setting of the film itself: this film exists as a critique of moral decadence The Old Order, which celebrates sexuality in public spaces and on the other hand, also describes the background society (which is also where the writer of the scenario came from) where the practices of sexuality diverged have their own traces in the history of this society.</em><em></em></p><p>Artikel ini membahas praktik-praktik seksualitas menyimpang di tengah masyarakat Muslim-Minangkabau yang digambarkan dalam film Indonesia awal dalam relasinya dengan konteks sosial-budaya dalam film maupun konteks sosial-budaya ketika film ini diproduksi. Film yang dimaksud adalah <em>Titian Serambut Dibelah Tujuh</em> karya Asrul Sani. Dalam film ini beberapa praktik seksualitas menyimpang yang digambar adalah homoseksualitas, lesbianitas, dan hiperseksualitas (lewat praktik perkosaan). Dengan menggunakan pendekatan neo-historisisme, yang melihat relasi teks sastra (film) dengan ruang dan waktu historisnya, narasi-narasi dalam film ini terkait dengan konteks kehadirannya di tengah realitas sosial Indonesia dan latar filmnya itu sendiri: <em>f</em><em>ilm ini hadir sebagai kritik atas dekadensi moral Orde Lama yang merayakan b</em><em>i</em><em>nalitas-seksualitas di ruang publik</em><em> dan d</em><em>i sisi lain,</em><em> </em>juga menggambarkan masyarakat latar (yang juga dari mana si penulis skenarionya berasal) di mana praktik-praktik seksualitas menyimpang punya jejaknya tersendiri dalam sejarah puak ini.</p>

scholarly journals ACTUALIZATION, MYTHOLOGIZATION AND TRANSFORMATION OF THE LITERARY HERO: THE STIRLITZ PHENOMENON

2020 ◽  
Vol 23 (4) ◽  
pp. 189-195
Author(s):  
Lyudmila A. Yakusheva ◽  
Keyword(s):  
Cultural Studies ◽  
Cultural Context ◽  
The Other ◽  
Literary Analysis ◽  
Artistic Value ◽  
Other Hand ◽  
History Of ◽  
The One ◽  
Logical Process

Conceptualization of artistic actions of the last XX century is a natural and logical process. In the cultural studies discourse of the Soviet cultural typology we can see a sustained interest in educational problems based on visualized acts of a semiotic and semantic range, which are defined through the cultural context of the epoch. The most recognizable sign-index of the 1970s (in terms of time, ideological system and Soviet mentality) is Maxim IsaevStierlitz. On the one hand, this is an image which artistic value was questioned even when it had appeared. On the other hand, mass popularity turned Stierlitz in a precedent phenomenon, and the consideration of canonization conditions inspired this research. The article continues the author's series of publications dedicated to «homo soveticus» and the phenomena of the Soviet era – communal apartments, shop lines, summer cottages. The author, based on her intuition and also on the synthesis of cultural and literary analysis, actualizes resources of myth-based criticism and history of memory, and reconstructs one of the most popular myth-images in literature and cinema of the second half of the XX century – the image of the popular Soviet spy. The research focuses on the reasons of Stierlitz’s mass popularity, archetypal qualities of this character, and its perception by difference cultural generations. The author analyzes vectors of this character’s mythologization.

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