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Doctoral Dissertation Márton Rózsa Byzantine Second-Tier Élite In
Eötvös Loránd University Faculty of Humanities DOCTORAL DISSERTATION MÁRTON RÓZSA BYZANTINE SECOND-TIER ÉLITE IN THE ‘LONG’ TWELFTH CENTURY Doctoral School of History Head of the doctoral school: Dr. Gábor Erdődy Doctoral Programme of Medieval and Early Modern World History Head of the doctoral programme: Dr. Balázs Nagy Supervisor: Dr. Balázs Nagy Members of the assessment committee: Dr. István Draskóczy, Chair Dr. Gábor Thoroczkay, PhD, Secretary Dr. Floris Bernard, opponent Dr. Andreas Rhoby, opponent Dr. István Baán, member Dr. László Horváth, PhD, member Budapest, 2019 ADATLAP a d o kt ori ért e k e z é s n yit v á n o s s á gr a h a z at al á h o z l. A d o kt ori ért e k e z é s a d at ai A s z et z ő n e v e: Ró z s a ] u í árt o n MT M'f-azonosító: 1 0 0 1 9 2 7 0 A d o kt ori ért e k e z é s c í m e é s al c í m e: B y z a nti n e Second-Tie, Éttt ein t h e 'Lang'Tu,e\th C e nt ur y f) Ol-azonosító: 1 íl. l 5 1 7 6/ E L T E. 2 0 I 9. 0 5 ő A d o kt ori i s k ol a n e v e: Tü,t énele míuclo mányi D ol ú ori { sl ail a A d o kt ori pr o gr í } m n e v e: Köz é p k ori é s kora újkori e gt e í e m e s tört é n eti Doktori Progratn A t é mavezető n e v e ó s tudo mányos fcrkozata: § a g y * B ai ú z s. -
Nikephoros Bryennios the Younger – the First One Not to Become a Blind Man? Political and Military History of the Bryennios Family in the 11Th and Early 12Th Century
Studia Ceranea 10, 2020, p. 31–45 ISSN: 2084-140X DOI: 10.18778/2084-140X.10.02 e-ISSN: 2449-8378 Marcin Böhm (Opole) https://orcid.org/0000-0002-5393-3176 Nikephoros Bryennios the Younger – the First One Not to Become a Blind Man? Political and Military History of the Bryennios Family in the 11th and Early 12th Century ikephoros Bryennios the Younger (1062–1137) has a place in the history N of the Byzantine Empire as a historian and husband of Anna Komnene (1083–1153), a woman from the imperial family. His historical work on the his- tory of the Komnenian dynasty in the 11th century is an extremely valuable source of information about the policies of the empire’s major families, whose main goal was to seize power in Constantinople1. Nikephoros was also a talented commander, which he proved by serving his father-in-law Alexios I Komnenos (1081–1118) and brother-in-law John II Komnenos (1118–1143). The marriage gave him free access to people and documents which he also enriched with the history of his own family. It happened because Nikephoros Bryennios was not the first representative of his family who played an important role in the internal policy of the empire. He had two predecessors, his grandfather, and great grand- father, who according to the family tradition had the same name as our hero. They 1 J. Seger, Byzantinische Historiker des zehnten und elften Jahrhunderts, vol. I, Nikephoros Bryennios, München 1888, p. 31–33; W. Treadgold, The Middle Byzantine Historians, Basingstoke 2013, p. 344–345; A. -
Visualizing the Byzantine City the Art of Memory
Abstracts Visualizing the Byzantine City Charalambos Bakirtzis Depictions of cities: in the icon “Allegory of Jerusalem on High,” two cities are depicted, one in the foothills and the other at the edge of a rocky mountain. The lengthy inscription of the icon is of interest from a town-planning and architectural standpoint. The imperial Christian city: in the mosaics of the Rotunda in Thessalonike, the city is not shown with walls, but with palaces and other splendid public buildings, declaring the emperor’s authority as the sole ruler and guarantor of the unity of the state and the well-being of cities, which was replaced by the authority of Christ. The appearance of the walled city: all the events shown in the mosaics (seventh century) of the basilica of St. Demetrios are taking place outside the walls of the city, probably beside the roads that lead to it. The city’s chora not only protected the city; it was also protected by it. A description of the city/kastron: John Kameniates lived through the capture of Thessalonike by the Arabs in the summer of 904. At the beginning of the narrative, he prefixes a lengthy description/encomium of Thessalonike. The means of approaching the place indicate that the way the city is described by Kameniates suits a visual description. Visualizing the Late Byzantine city: A. In an icon St. Demetrios is shown astride a horse. In the background, Thessalonike is depicted from above. A fitting comment on this depiction of Thessalonike is offered by John Staurakios because he renders the admiration called forth by the large Late Byzantine capitals in connection with the abandoned countryside. -
NOTA BENE Vol
NOTA BENE Vol. 26 No. 1 News from the Harvard Department of the Classics Academic Year 2020–21 Notes from the Chair by Kathleen Coleman ooking back over my “editorial” in Nota Bene this on Diversity, Inclusion, and Anti-Racism has worked time last year, I seem not to have anticipated that very hard to make us aware of ways in which we can Lnothing much would have changed in our COVID-in- make our discipline and our department welcoming duced working mode in the interim, other than that and inclusive for everyone, regardless of identity, early last summer the Library was able to establish background, and prior familiarity with the study of a system for delivering certain books for pick-up at Greece and Rome; new opportunities for students Lamont Library, which has not replaced our need for from historically underrepresented backgrounds physical access to the stacks and Circulation, but has have been created via summer scholarships and other certainly helped. Apart from that, we have continued initiatives that are described further on in this issue. to teach and learn exclusively on Zoom, and each of In this way we are trying to ensure that Harvard’s us has our own favorite list of what we miss most response to current debates about the place of Classics from the “before times.” But any list of what we have in the United States in the twenty-first century is lost brings home that so much of what we used to timely, sensitive, and constructive. consider indispensable was inessential: thanks to the Finally, pride and congratulations are in order: to electronic age, our educational and research mission our colleagues, graduates, and current students, whose has continued, despite our physical separation from many achievements are described in this issue, and one another. -
Features Lifestyle
Established 1961 13 Lifestyle Features Tuesday, October 27, 2020 he moonlight is the only light in the port, where business was thriving after without visitors in the wind-battered vil- alleys of Mikro Chorio, the ancient 1947 when the Dodecanese islands were lage. Not far from there, the fortified town Tcapital of the Greek island of Tilos. annexed by Greece from Italy. By the of Mystras, a UNESCO World Heritage And as in many other abandoned vil- 1960s the school that had once served Site since 1989, has become a major lages in Greece, they only come back to 180 pupils was also transferred to the attraction, one of the 10 most-visited life for the tourists. When night falls, port and Mikro Chorio’s three cafes sites in Greece. Tourists flock to its Mikro Chorio (Little Village in Greek) closed. paved alleys, admiring the elaborate rewakens, as a handful of visitors sip frescos of the Byzantine churches and cocktails at the small bar-museum at the ‘Crazy dream’ visiting the town’s monastery, which is foot of the ruins. “We are trying to bring it Aliferis, who hails from the still occupied, even if the town itself was back to life,” said the bar’s owner Peloponnese in western Greece, discov- deserted in 1950. Spinalonga, a small Giorgos Aliferis. For years now, between ered the abandoned village of Mikro abandoned island off Crete, still attracts 11:00 pm and midnight, he has been Chorio in the 1980s, after he arrived on tourists captivated by its dramatic past. going in his little van to pick up cus- the island when his brother, a doctor, There, in the Venetian fortress that has tomers from Livadia, the island’s port, went to work there. -
Bats and Their Symbolic Meaning in Moche Iconography
arts Article Inverted Worlds, Nocturnal States and Flying Mammals: Bats and Their Symbolic Meaning in Moche Iconography Aleksa K. Alaica Department of Anthropology, University of Toronto, 19 Ursula Franklin Street, Toronto, ON M5S 2S2, Canada; [email protected] Received: 1 August 2020; Accepted: 10 October 2020; Published: 21 October 2020 Abstract: Bats are depicted in various types of media in Central and South America. The Moche of northern Peru portrayed bats in many figurative ceramic vessels in association with themes of sacrifice, elite status and agricultural fertility. Osseous remains of bats in Moche ceremonial and domestic contexts are rare yet their various representations in visual media highlight Moche fascination with their corporeal form, behaviour and symbolic meaning. By exploring bat imagery in Moche iconography, I argue that the bat formed an important part of Moche categorical schemes of the non-human world. The bat symbolized death and renewal not only for the human body but also for agriculture, society and the cosmos. I contrast folk taxonomies and symbolic classification to interpret the relational role of various species of chiropterans to argue that the nocturnal behaviour of the bat and its symbolic association with the moon and the darkness of the underworld was not a negative sphere to be feared or rejected. Instead, like the representative priestesses of the Late Moche period, bats formed part of a visual repertoire to depict the cycles of destruction and renewal that permitted the cosmological continuation of life within North Coast Moche society. Keywords: bats; non-human animals; Moche; moon imagery; priestess; sacrifice; agriculture; fertility 1. -
VILLA I TAT TI Via Di Vincigliata 26, 50135 Florence, Italy
The Harvard University Center for Italian Renaissance Studies VILLA I TAT TI Via di Vincigliata 26, 50135 Florence, Italy Volume 30 E-mail: [email protected] / Web: http://www.itatti.it Tel: +39 055 603 251 / Fax: +39 055 603 383 Autumn 2010 or the eighth and last time, I fi nd Letter from Florence to see art and science as sorelle gemelle. Fmyself sitting on the Berenson gar- The deepening shadows enshroud- den bench in the twilight, awaiting the ing the Berenson bench are conducive fi reworks for San Giovanni. to refl ections on eight years of custodi- In this D.O.C.G. year, the Fellows anship of this special place. Of course, bonded quickly. Three mothers and two continuities are strong. The community fathers brought eight children. The fall is still built around the twin principles trip took us to Rome to explore the scavi of liberty and lunch. The year still be- of St. Peter’s along with some medieval gins with the vendemmia and the fi ve- basilicas and baroque libraries. In the minute presentation of Fellows’ projects, spring, a group of Fellows accepted the and ends with a nostalgia-drenched invitation of Gábor Buzási (VIT’09) dinner under the Tuscan stars. It is still a and Zsombor Jékeley (VIT’10) to visit community where research and conver- Hungary, and there were numerous visits sation intertwine. to churches, museums, and archives in It is, however, a larger community. Florence and Siena. There were 19 appointees in my fi rst In October 2009, we dedicated the mastery of the issues of Mediterranean year but 39 in my last; there will be 31 Craig and Barbara Smyth wing of the encounter. -
Liberal Arts Colleges in American Higher Education
Liberal Arts Colleges in American Higher Education: Challenges and Opportunities American Council of Learned Societies ACLS OCCASIONAL PAPER, No. 59 In Memory of Christina Elliott Sorum 1944-2005 Copyright © 2005 American Council of Learned Societies Contents Introduction iii Pauline Yu Prologue 1 The Liberal Arts College: Identity, Variety, Destiny Francis Oakley I. The Past 15 The Liberal Arts Mission in Historical Context 15 Balancing Hopes and Limits in the Liberal Arts College 16 Helen Lefkowitz Horowitz The Problem of Mission: A Brief Survey of the Changing 26 Mission of the Liberal Arts Christina Elliott Sorum Response 40 Stephen Fix II. The Present 47 Economic Pressures 49 The Economic Challenges of Liberal Arts Colleges 50 Lucie Lapovsky Discounts and Spending at the Leading Liberal Arts Colleges 70 Roger T. Kaufman Response 80 Michael S. McPherson Teaching, Research, and Professional Life 87 Scholars and Teachers Revisited: In Continued Defense 88 of College Faculty Who Publish Robert A. McCaughey Beyond the Circle: Challenges and Opportunities 98 for the Contemporary Liberal Arts Teacher-Scholar Kimberly Benston Response 113 Kenneth P. Ruscio iii Liberal Arts Colleges in American Higher Education II. The Present (cont'd) Educational Goals and Student Achievement 121 Built To Engage: Liberal Arts Colleges and 122 Effective Educational Practice George D. Kuh Selective and Non-Selective Alike: An Argument 151 for the Superior Educational Effectiveness of Smaller Liberal Arts Colleges Richard Ekman Response 172 Mitchell J. Chang III. The Future 177 Five Presidents on the Challenges Lying Ahead The Challenges Facing Public Liberal Arts Colleges 178 Mary K. Grant The Importance of Institutional Culture 188 Stephen R. -
Download Download
Journal of Arts & Humanities Volume 10, Issue 02, 2021: 28-50 Article Received: 02-02-2021 Accepted: 22-02-2021 Available Online: 28-02-2021 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: https://doi.org/10.18533/jah.v10i2.2053 The Enthroned Virgin and Child with Six Saints from Santo Stefano Castle, Apulia, Italy Dr. Patrice Foutakis1 ABSTRACT A seven-panel work entitled The Monopoli Altarpiece is displayed at the Museum of Fine Arts in Boston, Massachusetts. It is considered to be a Cretan-Venetian creation from the early fifteenth century. This article discusses the accounts of what has been written on this topic, and endeavors to bring field-changing evidence about its stylistic and iconographic aspects, the date, the artists who created it, the place it originally came from, and the person who had the idea of mounting an altarpiece. To do so, a comparative study on Byzantine and early-Renaissance painting is carried out, along with more attention paid to the history of Santo Stefano castle. As a result, it appears that the artist of the central panel comes from the Mystras painting school between 1360 and 1380, the author of the other six panels is Lorenzo Veneziano around 1360, and the altarpiece was not a single commission, but the mounting of panels coming from separate artworks. The officer Frà Domenico d’Alemagna, commander of Santo Stefano castle, had the idea of mounting different paintings into a seven-panel altarpiece between 1390 and 1410. The aim is to shed more light on a piece of art which stands as a witness from the twilight of the Middle Ages and the dawn of Renaissance; as a messenger from the Catholic and Orthodox pictorial traditions and collaboration; finally as a fosterer of the triple Byzantine, Gothic, Renaissance expression. -
Harvard University Fact Book 2004-2005
Harvard University Fact Book 2004 - 2005 T able of Contents ORGANIZATION Pages Central Administration 2 Faculties and Allied Institutions 3 Research and Academic Centers 4 – 5 PEOPLE Pages Degree Student Enrollment 6 – 9 Degrees Conferred 10 – 13 International Students 14 – 15 Non-Degree Students and Fellowship Programs 16 – 17 Faculty Counts 18 – 19 Staff Counts 20 – 21 RESOURCES Pages Tuition, Fees, and Financial Aid 22 – 25 Sponsored Research 26 – 30 Library 31 – 32 FY2004 Income and Expense 33 – 34 Physical Plant 35 – 36 Endowment 37 – 38 The Harvard University Fact Book is published by: Office of Budgets, Financial Planning and Institutional Research Holyoke Center 780, Cambridge, MA 02138 The address for the electronic version is: http://vpf-web.harvard.edu/factbook/ If you would like more information about data contained in the Fact Book, contact: JASON DEWITT, Data Resource Specialist (617) 495-0591, E-mail: [email protected] RUTH LOESCHER, Institutional Research Coordinator (617) 496-3568, E-mail: [email protected] NINA ZIPSER, Director of Institutional Research (617) 384-9236, E-mail: [email protected] Changes to content after publication are reflected on the web version of the Fact Book. Copyright 2005 by the President and Fellows of Harvard College Central Administration 2 HARVARD CORPORATION PRESIDENT & BOARD OF OVERSEERS PROVOST SECRETARY TREASURER HARVARD MANAGEMENT CO. UNIVERSITY ASSOCIATE VP FOR UNIVERSITY OMBUDS UNIVERSITY UNIVERSITY MEMORIAL AMERCIAN MARSHAL EEO/AA INFORMATION SYSTEMS OFFICE HEALTH -
Dumbarton Oaks
annual report 2017–2018 Research Library and Collection and Library Research Dumbarton Oaks dumbarton oaks • 2017–2018 Washington, DC Dumbarton Oaks Research Library and Collection 2017–2018 Dumbarton Oaks Research Library and Collection Annual Report 2017–2018 © 2018 Dumbarton Oaks Trustees for Harvard University, Washington, DC ISSN 0197-9159 Cover: The Cutting Garden Frontispiece: Albert Edward Sterner (American, 1863–1946). Mildred Barnes Bliss, 1908. Chalk (sanguine crayon), charcoal, and graphite on paper. HC.D.1908.03.(Cr) www.doaks.org/about/annual-reports Contents From the Director 7 Director’s Office 13 Academic Programs 19 Fellowship Reports 35 Byzantine Studies 57 Garden and Landscape Studies 69 Pre-Columbian Studies 81 Library 89 Publications and Digital Humanities 95 Museum 105 Garden 113 Music at Dumbarton Oaks 117 Facilities, Finance, Human Resources, and Information Technology 121 Administration and Staff 127 From the Director This is the tenth annual report to roll off the presses during my direc- torship, which began in 2007. Previously, Dumbarton Oaks dissemi- nated only bare lists of facts and figures without accompanying prose. The full run of such accounts, reaching back to 1989, can be inspected on the website. For a decade now, a different kind of compendium has been offered yearly: a historical record that doubles as a celebration of imaginative industry. If nothing else, I aim in this statement to voice the appreciation I feel for my colleagues at Dumbarton Oaks. Without their commitment and daily contributions, all dreams relating to aca- demic programs and physical plans would stay vaporous nothings. My collaborators in this wonderful establishment encompass dozens of extraordinarily experienced, talented, and creative individuals who not only come to work with a spring in their step but who, through their performance, put the same resilience into the strides of those they assist. -
Seduced Copies of Measured Drawings Written
m Mo. DC-671 .-£• lshlH^d)lj 1 •——h,— • ULU-S-S( f^nO District of Columbia arj^j r£Ti .T5- SEDUCED COPIES OF MEASURED DRAWINGS WRITTEN HISTORICAL AND DESCRIPTIVE DATA Historic American Building Survey National Park Service Department of the Interior" Washington, D.C 20013-7127 HISTORIC AMERICAN BUILDINGS SURVEY DUMBARTON OAKS PARK HABS No. DC-571 Location: 32nd and R Sts., NW, Washington, District of Columbia. The estate is on the high ridge that forms the northern edge of Georgetown. Dumbarton Oaks Park, which was separated from the formal gardens when it was given to the National Park Service, consists of 27.04 acres designed as the "naturalistic" component of a total composition which included the mansion and the formal gardens. The park is located north of and below the mansion and the terraced formal gardens and focuses on a stream valley sometimes called "The Branch" (i.e., of Rock Creek) nearly 100' below the mansion. North of the stream the park rises again in a northerly and westerly direction toward the U.S. Naval Observatory. The primary access to the park is from R Street between the Dumbarton Oaks estate and Montrose Park along a small lane presently called Lovers' Lane. Present Owner; Dumbarton Oaks Park is a Federal park, owned and maintained by the National Park Service of the Department of the Interior. Dates of Construction: Dumbarton Oaks estate was acquired by Robert Woods Bliss and Mildred Barnes Bliss in 1920. At their request, Beatrix Jones Farrand, a well- known American landscape architect, agreed to undertake the design and oversee the maintenance of the grounds.