The Truth Behind St. Valentine's
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{DOWNLOAD} the Amorous Heart : an Unconventional History of Love
THE AMOROUS HEART : AN UNCONVENTIONAL HISTORY OF LOVE PDF, EPUB, EBOOK Marilyn Yalom | 288 pages | 09 Jan 2018 | INGRAM PUBLISHER SERVICES US | 9780465094707 | English | New York, United States The Amorous Heart : An Unconventional History of Love PDF Book This impressive book provides a story of the social evolution of the iconography of the heart, of the sexes in relation to our capacity to love; it serves to demonstrate our natural instinct for love and erotic expression. The Vatican Art Deck: Masterpieces. Close cookie policy overlay. Notify me of new comments via email. Can it? Comment Add a Comment. It traces the narratives of love associated with Eros and Cupid. We see it used as a verb on t-shirts "I [heart] New York" and in text messages the incredible variety of heart emojis. In The Amorous Heart , Marilyn Yalom tracks the heart metaphor and heart iconography across two thousand years, through Christian theology, pagan love poetry, medieval painting, Shakespearean drama, Enlightenment science, and into the present. Non-members: Enjoy a discount on our virtual events. Read More. How had the human heart become transformed into such a whimsical icon? In The Amorous Heart , Marilyn Yalom tracks the heart metaphor and heart iconography across two thousand years, through Christian theology, pagan love poetry, medieval painting, Shakespearean drama, Enlightenment science, and into the present. Marilyn Yalom's account of the heart's symbolization as the seat of passion takes us from antiquity to the Middle Ages to valentine kitsch of our own age. And its origins weren't exactly filled with passion:. -
What the Romans Knew Piero Scaruffi Copyright 2018 • Part II
What the Romans knew Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know • Part II 1 What the Romans knew Archaic Roma Capitolium Forum 2 (Museo della Civiltà Romana, Roma) What the Romans Knew • Greek! – Wars against Carthage resulted in conquest of the Phoenician and Greek civilizations – Greek pantheon (Zeus=Jupiter, Juno = Hera, Minerva = Athena, Mars= Ares, Mercury = Hermes, Hercules = Heracles, Venus = Aphrodite,…) – Greek city plan (agora/forum, temples, theater, stadium/circus) – Beginning of Roman literature: the translation and adaptation of Greek epic and dramatic poetry (240 BC) – Beginning of Roman philosophy: adoption of Greek schools of philosophy (155 BC) – Roman sculpture: Greek sculpture 3 What the Romans Knew • Greek! – Greeks: knowing over doing – Romans: doing over knowing (never translated Aristotle in Latin) – “The day will come when posterity will be amazed that we remained ignorant of things that will to them seem so plain” (Seneca, 1st c AD) – Impoverished mythology – Indifference to metaphysics – Pragmatic/social religion (expressing devotion to the state) 4 What the Romans Knew • Greek! – Western civilization = the combined effect of Greece's construction of a new culture and Rome's destruction of all other cultures. 5 What the Romans Knew • The Mediterranean Sea (Mare Nostrum) – Rome was mainly a sea power, an Etruscan legacy – Battle of Actium (31 BC) created the “mare nostrum”, a peaceful, safe sea for trade and communication – Disappearance of piracy – Sea routes were used by merchants, soldiers, -
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
Ritual Cleaning-Up of the City: from the Lupercalia to the Argei*
RITUAL CLEANING-UP OF THE CITY: FROM THE LUPERCALIA TO THE ARGEI* This paper is not an analysis of the fine aspects of ritual, myth and ety- mology. I do not intend to guess the exact meaning of Luperci and Argei, or why the former sacrificed a dog and the latter were bound hand and foot. What I want to examine is the role of the festivals of the Lupercalia and the Argei in the functioning of the Roman community. The best-informed among ancient writers were convinced that these were purification cere- monies. I assume that the ancients knew what they were talking about and propose, first, to establish the nature of the ritual cleanliness of the city, and second, see by what techniques the two festivals achieved that goal. What, in the perception of the Romans themselves, normally made their city unclean? What were the ordinary, repetitive sources of pollution in pre-Imperial Rome, before the concept of the cura Urbis was refined? The answer to this is provided by taboos and restrictions on certain sub- stances, and also certain activities, in the City. First, there is a rule from the Twelve Tables with Cicero’s curiously anachronistic comment: «hominem mortuum», inquit lex in duodecim, «in urbe ne sepelito neve urito», credo vel propter ignis periculum (De leg. II 58). Secondly, we have the edict of the praetor L. Sentius C.f., known from three inscrip- tions dating from the beginning of the first century BC1: L. Sentius C. f. pr(aetor) de sen(atus) sent(entia) loca terminanda coer(avit). -
A Comparative Study of the Interpretations of Emojis in Between U.S
International Journal of Literature and Arts 2020; 8(3): 108-118 http://www.sciencepublishinggroup.com/j/ijla doi: 10.11648/j.ijla.20200803.12 ISSN: 2331-0553 (Print); ISSN: 2331-057X (Online) A Comparative Study of the Interpretations of Emojis in Between U.S. and Chinese Users Sherman Chui School of English for International Business, Guangdong University of Foreign Studies, Guangzhou, China Email address: To cite this article: Sherman Chui. A Comparative Study of the Interpretations of Emojis in Between U.S. and Chinese Users. International Journal of Literature and Arts. Special Issue: Humanity and Science: China’s Intercultural Communication with the Outside World in the New Era. Vol. 8, No. 3, 2020, pp. 108-118. doi: 10.11648/j.ijla.20200803.12 Received: February 27, 2020; Accepted: March 12, 2020; Published: April 8, 2020 Abstract: In recent years, Emojis have permeated online communications. They constantly show up in text messages, chats and emails, playing a significant role in business and daily interaction. Although designed to replace language text and to convert some universal emotions through icons, there are no rules governing people how to correctly define the sentiments behind them. Therefore, users with different cultural background may interpret emojis differently. This have often led to misinterpretation and miscommunication from different user groups. This study examines the correlation of the sentiments felt from a group of U.S. users versus a group of Chinese users by having them rate their sentiments from positive to negative for the top 15 most popularly used emojis. The survey was circulated in U.S. -
Candlelight: Symbol of Consciousness in Holy, Protective Space
, 제7권 제2호 Journal of Symbols & Sandplay Therapy 2016, 12, Vol. 7, No. 2, 87-106. Candlelight: Symbol of Consciousness in Holy, Protective Space Lee Na Kyoung* <Abstract> This study examined the symbolism of candlelight that is frequently observed in sand pictures. Candlelight represents light in the darkness of life, bright future, vitality of sun, or uncertainty and evanescence of life that can easily vanish. Birth and death of human being is compared to creation and extinction of candlelight. Candlelight that is lit at deathbed breaks darkness of death and it symbolizes the light in afterlife. As for the existing method of candlelight, it reveals its nature by burning itself. Hence, candle, which completes its existence through an encounter with flame, is an important symbol that shows birth, death, resurrection, and holiness. This study examined the symbolism of ‘candlelight’ from an aspect of analytical psychology by dividing into ‘Temenos’ as a holy protective space, ‘Initiation’ to death that is encountered at the process toward regeneration, and ‘Consciousness’ that naturally begins a noble evolution by converting unconscious characteristics of Self to be conscious. The paper analyzed the symbolism of candlelight by examining the sand pictures of client. Keywords : candlelight, temenos, initiation, consciousness * Corresponding Author: Lee Na Kyoung, Counselor-researcher, Mara Youth and Family Counseling Center ([email protected]) - 87 - Journal of Symbols & Sandplay Therapy, Vol.7 No.2. Ⅰ. Introduction The candlelight symbolizes birth, death, resurrection, and sacredness. It also represents the light amid the darkness of life, bright future, vitality of the sun, or uncertainty of life and transience. Candles lit at the time of death give light to the darkness of death and symbolize the light in the afterlife. -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
An Exploration of the Symbolism of the Heart in Art Transcript
Affairs of the Heart: An Exploration of the Symbolism of the Heart in Art Transcript Date: Tuesday, 14 February 2017 - 6:00PM Location: Museum of London 14 February 2017 Affairs of the Heart: An Exploration of the Symbolism of the Heart in Art Professor Martin Elliott and Dr Valerie Shrimplin Welcome to the Museum of London for this St Valentine’s Day lecture. Valentine’s Day is a day for romance, flowers, chocolate and, of course, hearts. My connection with the heart is both obvious and by now well known; it has been the overall theme of my series of lectures. Even the Gresham grasshopper has a heart. Actually, it has many hearts…segmentally along its aorta. Once again, I am delighted to be speaking in front of what is always a special Gresham audience. I love the Gresham audience. My heart has been pierced! That single image of a pulsating heart is a symbol; something used to signify ideas and qualities. The images acquire symbolic meanings that are different from their literal sense. A picture is worth a thousand words, and you instantly grasp the meanings of these symbols, without the use of words. How these symbols have evolved and came to have such instant and effective meaning is what we are to discuss this evening. I am delighted and honoured to share the delivery of this talk with Dr Valerie Shrimplin, who many of you will know is the Registrar of Gresham College. She is also (fortunately for all of us, and especially me) a card- carrying art historian with a particular interest in the symbolism of the heart in art. -
Traveling in Foreign Countries God Is Light Temple Symbolism the Winged Feet of Love
“A Sane Mind, A Soft Heart, A Sound Body” May/June 1996—$3.00 TRAVELING IN FOREIGN COUNTRIES GOD IS LIGHT TEMPLE SYMBOLISM THE WINGED FEET OF LOVE A CHRISTIAN ESOTERIC MAGAZINE Three Prayers Christ, be with me, Christ before me, Christ behind me, Christ in me, Christ beneath me, Christ above me, Christ on my right, Christ on my left, Christ where I lie, Christ where I sit, Christ where I arise, Christ in the heart of every one who thinks of me, Christ in every eye that sees me, Christ in every ear that hears me. Salvation is of the Lord, Salvation is of the Christ, May your salvation, O Lord, be ever with us. —St. Patrick Christ, whose glory fills the skies, Christ, the true and only light, Sun of righteousness, arise, Triumph o’er the shades of night; Dayspring from on high, be near; Daystar, in my heart appear! Visit, then, this soul of mine, Pierce the gloom of sin and grief; Fill me, Radiancy divine Scatter all my unbelief; More and more Thyself display, Shining to the perfect day. —Charles Wesley O God, You are the light of the minds that know You the life of the souls that love You, and the strength of the wills that serve You; help us so to know You that we may truly love You, so to love You that we may fully serve You, Whom to serve is perfect freedom; through Jesus Christ our Lord. —St. Augustine of Hippo Front Cover: Benediction of the Resurrected Christ, Christ Church Cathedral, 1832 This Issue.. -
Nota Bene-- C:\USERS\GRAF.65\DESKTOP
CHAPTER F IVE THE L UPERCALIA F ROM A UGUSTUS TO C ONSTANTINE P ORPHYROGENITUS LUPERCALIA AFTER A UGUSTUS Like many other festivals of the city of Rome, the Lupercalia became almost invisible during the first three centuries of the Imperial epoch. Only because of their special social cachet did the Luperci and their rites not entirely become invisible during the imperial centuries. Theirs was the only priestly sodalitas that Augustus reserved for the knights, whereas all other sodalitates became the privilege of the senatorial aristocracy. To be made a lupercus turned into a highly- coveted status symbol of “near-aristocracy” that was publicly marked with the statue of the new lupercus already in Julio-Claudian times – a new habit of this age, as the Elder Pliny tells us, himself of an equestrian background 1. Inscriptions from both Rome and the provinces show how to be adlected a lupercus in Rome was viewed as an important early step of an equestrian cursus honorum ; sacris ____________________________ 1Plin. Nat. 34.18: Among the Roman innovations in the iconography of statues Lupercorum habitu tam noviciae sunt quam quae nuper prodiere paenulis indutae ; see Veyne (1960), 105. – On the transformation of the Lupercalia between Caesar and Augustus see Ferriès (2009). -2- Festivals in the Greek East lupercalibus functo , “to have performed one’s duty as a lupercus” remained a major career step through most of the imperial age 2. The last lupercus whom we meet in inscriptions is L. Crepereius Rogatus, vir clarissimus , a member of the senatorial elite of the earlier fourth century, a young man when Diocletian came to power 3. -
SILPHION “…Multis Iam Annis in Ea Terra Non Invenitur…”
European Botanic Gardens in a Changing World: Insights into EUROGARD VI ɇȻȿɌȻɃɁ – SILPHION “…multis iam annis in ea terra non invenitur…” Monika Kiehn Department of Ancient History, Papyrology and Epigraphy, University of Vienna, Universitätsring 1, 1010 Vienna, Austria, [email protected] Keywords: historic records, botanical identification, Umbelliferae (Apiaceae), Ferula , Narthex , Thapsia , Cachrys Background “As long as many years you can’t find it at this country anymore … ” (Plin.n.h. XIX 39). This statement of Pliny the Elder (23-79 AD) refers to the ancient Silphion plant. Called laserpicium or laser by the Romans, it was a highly recognized useful plant from the Roman province of Cyrenaica (today part of Libya). It was famous as medicine and very expensive: “ ... being sold as the same rate as silver. ” (Plin.n.h. XIX 39). Pliny also tells us the reason why it is not found anymore: the farmers who hold the land there on lease considered it more profitable to bring in flocks of sheep, and, as a result of that grazing, Silphion disappeared from the Cyrenaica. Pliny also reports “ Within the time of our memory, only one single stalk has been found there, and that was sent to the Emperor Nero ” (Plin.n.h. XIX 39) . Why is this plant still so fascinating – even after 2,000 years? Silphion is the first useful plant species said to have become extinct by men. But many scientists do not want to believe that it really has gone forever and hope it might still grow somewhere hidden in Northern Africa and waits for its rediscovery. -
Mystical Rome V 2.0- July Release Morra Universal Cinematic Game System Contents Chapter Eight: Genre: Mystical Rome
Mystical Rome V 2.0- July Release Morra Universal Cinematic Game System Contents Chapter Eight: Genre: Mystical Rome ................................................................ 4 Mystical Rome Credits .................................................................................... 5 Target Audience ............................................................................................ 5 Rating and Descriptors: R ............................................................................... 5 Mystical Rome Inspiration ............................................................................... 6 Mystical Rome Budget .................................................................................... 7 Mystical Rome Archetypes ............................................................................... 7 Artisan .................................................................................................... 7 Barbarian ................................................................................................. 9 Bureaucrat ..............................................................................................10 Clergy ....................................................................................................11 Criminal ..................................................................................................12 Druid ......................................................................................................13 Gladiator .................................................................................................14