Stamped Palmettes on Ancient Egyptian Pottery in the Context of the Mediterranean Culture of the Second Half of 1st Millennium B.C.

Author(s):  
Svetlana Malykh
Author(s):  
Francesco Matteo Cataluccio ◽  
Andrzej Franaszek ◽  
Krystyna Pietrych

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.


The Monist ◽  
1902 ◽  
Vol 12 (2) ◽  
pp. 161-180
Author(s):  
G. Sergi ◽  

2018 ◽  
Vol 4 (XXII) ◽  
pp. 33-46
Author(s):  
Zbigniew Kaźmierczyk

The article displays the image of Russia through the eyes of Wat in reference to the mental Russia of Miłosz. It discusses the similarities and differences of both of the views. It indicates the affinities in experiencing the communist Russia by Avant-garde poets – futurists and poets affiliated to “Żagary” magazine. The author proves that Wat’s narration in My Century organizes the dualism of the declining West and the revolutionary East. The article’s author reveals the mistake of mixing the negative data of existence with the political reality. He indicates that this contamination resulted in Wat’s idiosyncrasy towards the Mediterranean culture and expectation for its destruction by the communist revolution. He emphasizes the dual relict nature of revolutionary eschatology. The article shows the reasons for Wat’s ideological enslavement and process of liberating from the influence of communist utopia in the reality of imprisoning Wat and exiling him deep into the empire.


2020 ◽  
Vol 32 (2) ◽  
pp. 288-304
Author(s):  
Shai Srougo

This essay discusses the maritime Jews and their changing role in the fishing occupation in the Mediterranean sea. The first part presents the trends in historiography regarding the Thessalonikian Jewish fishermen in Ottoman and Post Ottoman periods. The second section explores the maritime world of Jewish fishermen in Ottoman Thessaloniki between the sixteenth and the twentieth centuries. We will establish the cultural identity of the Jewish fishermen, which expressed itself in Thermaikos Bay. The third part depicts the reasons for the collapse of the Jewish sea tenure in Greek Thessaloniki, especially between the years 1922-1924, and continues to describe one of the responses; the settlement of several fishing families in Acre (in Mandatory Palestine). Their experience in the new environment was short (1925-1929) and we will investigate the linkage between their cultural marginality in the core society to the failure of forming a Jewish maritime community in Acre.


2020 ◽  
Vol 11 ◽  
Author(s):  
Ariadne Mikou

The European Mediterranean appears to be an active key player for the production and circulation of screendance. Focusing this research on the pre-pandemic state of screendance in Italy, France, Greece and Spain and employing a methodology of one-to-one interviews, this text examines the art policies that have been in place for potentially supporting the production of screendance, the ways that spectatorship and social engagement kept on growing and the predictions for the yet-to-come evolution of the form in a context disassociated from, yet applicable to the on-going pandemic. Although screendance is understood differently among the interviewees – curators of major festivals such as DAN. CIN. LAB., Festival International De Vidéo Danse De Bourgogne, COORPI/La Danza in 1 minuto, Cinematica Festival, Stories We Dance International Videodance Contest, Choreoscope - The International Dance Film Festival of Barcelona and the formerly known Athens Video Dance Project – International Dance Film Festival – the aim of this research is to create knowledge regarding the heterogeneous landscape of screendance in the European Mediterranean as well as a broader understanding of the shifting Mediterranean culture.


2014 ◽  
Vol 3 (1) ◽  
Author(s):  
Angelica Delaney ◽  

The purpose of this paper is to examine the history of Cleopatra VII, as well as how and why she wanted to be depicted in a certain manner with respect to visual art. As the last noble of the Ptolemaic Dynasty, her images communicate her political abilities, her religious fervor, her maternal obligations and obstinacy in perpetuating royal lineage, and her direct connection to ancient Egyptian gods. Additionally, by consummating relationships with two of the most powerful men in ancient Roman history (Julius Caesar and Mark Antony), she was able to cultivate her skills as an influential pharaoh, equal to that of her male counterparts, and solidify her status as pharaoh. In exploring the multicultural facets of her images, I argue that not only did they not function solely as objects of aesthetic pleasure, they also appealed to a broad audience so as to communicate her level of influence as recognized not only in Egypt, but throughout the Mediterranean world.


2003 ◽  
Vol 18 (1) ◽  
pp. 111-137 ◽  
Author(s):  
PIER PAOLO VIAZZO

This article discusses the ‘Mediterranean model’ of household formation proposed by Laslett and others in the early 1980s and argues that the notion of a Mediterranean culture area has been used in significantly different ways by family historians and social anthropologists. Drawing its materials mainly from research conducted on Italy, it examines the changing relationships through time between nuptiality and household composition, the extent and structural characteristics of servanthood, and the functions of the family as a welfare agency. It is suggested that some concepts that recent generations of Mediterraneanist anthropologists have tended to question or utterly reject (including female honour) might still prove useful to shed light on a number of perplexing features of family life in Italy and the rest of southern Europe.


Author(s):  
Allen Fromherz

According to traditional medieval histories—those that focus on the European West as a distinct civilization from North Africa and the Middle East—the advent of Islam in the 7th century was the final blow to the hope of a restored Rome, one that split the Mediterranean in two. In this version of the past, the Muslim conquests of the 7th century permanently divided Islamic North Africa and the Maghrib from the culture, society, and thinking of Christian Western Europe. In fact, the Maghrib was a major port of the culture, architecture, society, religious development, commerce, and politics of a common, medieval western Mediterranean zone. It is true that Christian and Muslim dynasties and states on both sides of the Mediterranean regularly saw themselves as enemies and rivals. The dogmatic and violent use of religion to justify enslavement, forced conversion, and conquest was common practice throughout this period. It is also true, however, that infidel Christian kings and unholy Muslim warriors formed alliances with one another, both across the sea and across faiths.1 The existence of a “convenient enemy” was often used as a means of gaining political or military advantage within Muslim or Christian lands. Popes and kings signed agreements with Muslim caliphs and Muslim sultans sought protection of Christian kings. In addition to high-level political alliances, ties between the Maghrib and Western Europe ran deep through the medieval economy. Commerce and business partnerships prospered and the 12th-century Commercial Renaissance lifted all boats. Christian, Muslim, and Jewish merchants took advantage of flows of trade and gold from Africa to the Mediterranean and into Europe. Dreams of conversion fostered unintended cultural interactions and exchanges, as was the case with the Franciscans and Christian mercenaries who journeyed deep into the Maghrib during this period. More than religion or politics, common artistic and architectural styles make perhaps the most compelling argument for a common, trans-Mediterranean culture.


Author(s):  
Katarzyna Kuczyńska-Koschany

The main object of the author’s reflection is the Jewish situation after the Holocaust expressed in the genre of literary essay. The thoughts of Maurice Blanchot and Bogdan Dawid Wojdowski – both prominent essayists – are taken into consideration as an example. Whereas the French writer’s reflections on the Jewish situation are part of his observations about the category of infinity, the Polish essayist’s realizations are intermingled with his own tragic fate as a Jew. Blanchot and Wojdowski wrote after the Holocaust, which is an unique turning point in history for the Jews and their diaspora as well as for the Mediterranean culture.


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