Armando Pappalardo Dizionario Di Scienze Occulte
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Magic in Private and Public Lives of the Ancient Romans
COLLECTANEA PHILOLOGICA XXIII, 2020: 53–72 http://dx.doi.org/10.18778/1733-0319.23.04 Idaliana KACZOR Uniwersytet Łódzki MAGIC IN PRIVATE AND PUBLIC LIVES OF THE ANCIENT ROMANS The Romans practiced magic in their private and public life. Besides magical practices against the property and lives of people, the Romans also used generally known and used protective and healing magic. Sometimes magical practices were used in official religious ceremonies for the safety of the civil and sacral community of the Romans. Keywords: ancient magic practice, homeopathic magic, black magic, ancient Roman religion, Roman religious festivals MAGIE IM PRIVATEN UND ÖFFENTLICHEN LEBEN DER ALTEN RÖMER Die Römer praktizierten Magie in ihrem privaten und öffentlichen Leben. Neben magische Praktik- en gegen das Eigentum und das Leben von Menschen, verwendeten die Römer auch allgemein bekannte und verwendete Schutz- und Heilmagie. Manchmal wurden magische Praktiken in offiziellen religiösen Zeremonien zur Sicherheit der bürgerlichen und sakralen Gemeinschaft der Römer angewendet. Schlüsselwörter: alte magische Praxis, homöopathische Magie, schwarze Magie, alte römi- sche Religion, Römische religiöse Feste Magic, despite our sustained efforts at defining this term, remains a slippery and obscure concept. It is uncertain how magic has been understood and practised in differ- ent cultural contexts and what the difference is (if any) between magical and religious praxis. Similarly, no satisfactory and all-encompassing definition of ‘magic’ exists. It appears that no singular concept of ‘magic’ has ever existed: instead, this polyvalent notion emerged at the crossroads of local custom, religious praxis, superstition, and politics of the day. Individual scholars of magic, positioning themselves as ostensi- bly objective observers (an etic perspective), mostly defined magic in opposition to religion and overemphasised intercultural parallels over differences1. -
Revue Roumaine D'études Francophones No. 4 / 2012
Revue Roumaine d’Études Francophones No. 4 / 2012 Publication annuelle de l’Association Roumaine des Départements d’Études Francophones (ARDUF) LE RELIGIEUX 1 Directrice : Marina MUREŞANU IONESCU, Université « Alexandru Ioan Cuza » Iaşi, Roumanie – Université Jean Monnet Saint-Étienne, France Rédactrice en chef : Elena-Brânduşa STEICIUC, Université « Ştefan cel Mare » Suceava, Roumanie Présidente de l’ARDUF Rédactrice en chef adjointe : Felicia DUMAS, Université « Alexandru Ioan Cuza » Iaşi, Roumanie Secrétaire de rédaction : Brînduşa GRIGORIU, Université « Alexandru Ioan Cuza » Iaşi, Roumanie Comité de rédaction : Responsable section Littérature : Mircea ARDELEANU, Université « Lucian Blaga », Sibiu, Roumanie Responsable section Linguistique : Virginia VEJA LUCATELLI, Université « Dunărea de Jos », Galati, Roumanie Responsable section Didactique : Anca COSĂCEANU, Université de Bucarest, Roumanie Responsable des Comptes rendus : Dan DOBRE, Université de Bucarest, Roumanie Comité scientifique international : Charles BONN, Université Lyon II, France Patrice BRASSEUR, Université d’Avignon, France Francis CLAUDON, Université Paris 12, France Jean-Pierre LONGRE, Université Lyon III, France Samir MARZOUKI, Université de Manouba, Tunisie Irina MAVRODIN, Université de Craiova, Roumanie Catherine MAYAUX, Université Cergy – Pontoise, France Simona MODREANU, Université « Alexandru Ioan Cuza » Iaşi, Roumanie Alain MONTANDON, Université Blaise Pascal, Clermont-Ferrand, France Ioan PÂNZARU, Université de Bucarest, Roumanie Liliane RAMAROSOA, Université -
Coverpage Final
Symbols and Objects on the Sealings from Kedesh A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Paul Lesperance IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Professor Andrea Berlin August 2010 © Paul Lesperance, 2010 Acknowledgements I have benefitted greatly from the aid and support of many people and organizations during the writing of this dissertation. I would especially like to thank my advisor, Professor Andrea Berlin, for all her help and advice at all stages of the production process as well as for suggesting the topic to me in the first place. I would also like to thank all the members of my dissertation committee (Professor Susan Herbert of the University of Michigan, as well as Professors Philip Sellew and Nita Krevans of the University of Minnesota) for all their help and support. During the writing process, I benefitted greatly from a George A. Barton fellowship to the W. F. Albright Institute of Archaeological Research in Jerusalem in the fall of 2009. I would like to thank the fellowship committee for giving me such a wonderful and productive opportunity that helped me greatly in this endeavour as well as the staff of the Albright for their aid and support. I would also like to thank both Dr. Donald Ariel of the Israel Antiquities Authority for his aid in getting access to the material and his valuable advice in ways of looking at it and Peter Stone of the University of Cincinnati whose discussions on his work on the pottery from Kedesh helped to illuminate various curious aspects of my own. -
Ancient Carved Ambers in the J. Paul Getty Museum
Ancient Carved Ambers in the J. Paul Getty Museum Ancient Carved Ambers in the J. Paul Getty Museum Faya Causey With technical analysis by Jeff Maish, Herant Khanjian, and Michael R. Schilling THE J. PAUL GETTY MUSEUM, LOS ANGELES This catalogue was first published in 2012 at http: Library of Congress Cataloging-in-Publication Data //museumcatalogues.getty.edu/amber. The present online version Names: Causey, Faya, author. | Maish, Jeffrey, contributor. | was migrated in 2019 to https://www.getty.edu/publications Khanjian, Herant, contributor. | Schilling, Michael (Michael Roy), /ambers; it features zoomable high-resolution photography; free contributor. | J. Paul Getty Museum, issuing body. PDF, EPUB, and MOBI downloads; and JPG downloads of the Title: Ancient carved ambers in the J. Paul Getty Museum / Faya catalogue images. Causey ; with technical analysis by Jeff Maish, Herant Khanjian, and Michael Schilling. © 2012, 2019 J. Paul Getty Trust Description: Los Angeles : The J. Paul Getty Museum, [2019] | Includes bibliographical references. | Summary: “This catalogue provides a general introduction to amber in the ancient world followed by detailed catalogue entries for fifty-six Etruscan, Except where otherwise noted, this work is licensed under a Greek, and Italic carved ambers from the J. Paul Getty Museum. Creative Commons Attribution 4.0 International License. To view a The volume concludes with technical notes about scientific copy of this license, visit http://creativecommons.org/licenses/by/4 investigations of these objects and Baltic amber”—Provided by .0/. Figures 3, 9–17, 22–24, 28, 32, 33, 36, 38, 40, 51, and 54 are publisher. reproduced with the permission of the rights holders Identifiers: LCCN 2019016671 (print) | LCCN 2019981057 (ebook) | acknowledged in captions and are expressly excluded from the CC ISBN 9781606066348 (paperback) | ISBN 9781606066355 (epub) BY license covering the rest of this publication. -
Inhaltsverzeichnis Des II. Bandes
Inhaltsverzeichnis des II. Bandes Kap. IX. Schutzmittel 15 Riegel 24 A. Immunität 15 Ofenzange 24 1. Menschen 15 Reif 24 a) Abstammung 15 Sporn 24 Josef 15 Löffel 24 b) Geburt 15 Kanonenkugel 24 <x) Erstgeborene 15 Schlüssel 24 ß) Geburtstage 16 Hufeisen 26 y) Glückshaube 16 Nägel, Schrauben 28 c) Geschlecht 16 Bolzen 29 weibliches 16 Nadeln 30 Pubertät 16 Mistgabel 30 Mütter 16 Egge 30 d) Rasse 16 Feuerstahl 31 weiße 16 Messer 31 e) Religion 16 Schere 31 Christen 16 Feuerzeug 31 f) Beruf 16 Sense, Sichel 32 a) Richter 16 Pflugeisen 32 ß) Geistliche 16 Axt 32 g) Gekennzeichnete 16 Dolch 33 a) Augenbrauen 16 Degen 33 ß) Haare 16 Spieß 33 y) doppelter Daumen 17 Kupfer, Erz 33 8) Kahlköpfigkeit 17 Quecksilber 33 2. Tiere 17 Geldstücke 34 a) erstgeborene Pferde 17 ß) Steine 41 b) Esel 17 Donnerkeile 42 c) Fische 17 Schrecksteine 42 B. Eigentliche Abwehrmittel 17 Durchlöcherte Steine 43 1. Magische Mittel 17 Steine mit Naturzeich a) Erdreich 20 nungen 44 cc) Metalle 20 Tierische Steine 44 Gold 21 Aetites 44 Goldpapier 22 Quadros 45 Silber 22 Froschstein 45 Eisen 22 Krötenstein 45 eiserne Gegenstände 23 Serpentin 45 Kette 23 Edelsteine 45 Ring 24 Achat 45 Gefäße 24 Antipathes 45 Schloss 24 Bergkristall 45 Calcedon 46 Glas 60 Catochitis 46 b) Pflanzenreich 65 Diamant 46 <x) Bäume, Sträucher, 65 Gagat 47 Zweige, Holz, Späne 66 Galactites 47 ß) Kräuter, Pflanzen 67 Haematites 47 Aberaute 70 Hyazinth 47 Abrusbohnen 70 Jadeit 47 Adlerfarn 70 Jaspis 47 Ahorn 70 Katzenauge 47 Alant 70 Karfunkel 47 Aloe 71 Karneol 47 Ambra 71 Malachit 47 Andorn 71 -
Coversheet for Thesis in Sussex Research Online
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sussex Research Online A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details UNIVERSITY OF SUSSEX GAVIN OSBOURNE THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY MOSAICS OF POWER: SUPERSTITION, MAGIC AND CHRISTIAN POWER IN EARLY BYZANTINE FLOOR MOSAICS VOLUME 1 SEPTEMBER 2014 3 UNIVERSITY OF SUSSEX GAVIN OSBOURNE THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY MOSAICS OF POWER: SUPERSTITION, MAGIC AND CHRISTIAN POWER IN EARLY BYZANTINE FLOOR MOSAICS SUMMARY This thesis argues that some Early Byzantine floor mosaics had, in addition to a practical and decorative role, a supernatural function. By this I mean the images and words depicted within the mosaic were perceived as devices to attract powers from a supernatural dimension, for the benefit of those that walked over the mosaic or the building that housed it. The thesis is ultimately a discussion of the Byzantines’ beliefs in the power of art and text, and how they were believed to intervene and affect everyday life. -
A Reading Group Gold Selection
Roma_RGG 9/4/08 4:32 PM Page 1 ROMA by Steven Saylor About the Author A • A Conversation with Steven Saylor Reading Group Gold Historical Perspective Selection • “What Made the Matrons Murder?” An Essay by the Author Keep on Reading • Recommended Reading • Reading Group Questions For more reading group suggestions visit www.readinggroupgold.com ST. MARTIN’S GRIFFIN Roma_RGG 9/4/08 4:32 PM Page 2 A Conversation with Steven Saylor What was it like to do the research for such a big project? Sheer pleasure. When you dive into the research required for a historical novel written on this scale, it’s tremendously exciting; whole new worlds unfold as you follow one fascinating link to another, going further and further back in time to unravel the story of Rome’s origins. The research was anything but dull, because the ancient “The ancient historians had a keen sense of storytelling. They wanted to keep their audience enthralled from first page to last, historians had so the accounts they’ve given us are full of all the “good a keen sense of stuff”—tales of heroism and treachery, rape and storytelling.” revenge, hope and heartbreak. The people who built Rome into the greatest city on earth—warlords, slaves, vestal virgins, rabble-rousing politicians, scheming millionaires—still live for us today because the human drama of their lives still touches us. How did you move beyond the research into the actual writing? Creating the novel presented a great challenge, given the immense sweep (a span of a thousand years), the sheer number of characters, and the huge historical and political issues involved. -
Naked Power: the Phallus As an Apotropaic Symbol in the Images and Texts of Roman Italy
University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2005-6: Word Penn Humanities Forum Undergraduate & Image Research Fellows 4-1-2006 Naked Power: The Phallus as an Apotropaic Symbol in the Images and Texts of Roman Italy Claudia Moser University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/uhf_2006 Part of the Classics Commons Moser, Claudia, "Naked Power: The Phallus as an Apotropaic Symbol in the Images and Texts of Roman Italy" (2006). Undergraduate Humanities Forum 2005-6: Word & Image. 11. https://repository.upenn.edu/uhf_2006/11 2005-2006 Penn Humanities Forum on Word & Image, Undergraduate Mellon Research Fellows. URL: http://humanities.sas.upenn.edu/05-06/mellon_uhf.shtml This paper is posted at ScholarlyCommons. https://repository.upenn.edu/uhf_2006/11 For more information, please contact [email protected]. Naked Power: The Phallus as an Apotropaic Symbol in the Images and Texts of Roman Italy Abstract Representations of the phallus abound in both the art and the literature of the first-century A.D. Roman world. On frescoes in both private homes and public buildings, on amulets, statues, etchings, tripods, drinking cups and vases, exaggerated phallic images, these purportedly apotropaic symbols protect the inhabitant, the passerby, the wearer, the user from outside evil. The contemporary Latin literature, Roman satire and elegy in particular (Catullus, Martial, Juvenal, Horace, Tibullus), and the Priapea, a collection of poems about the phallic god Priapus, offer descriptions of the phallus and its functions that both coincide with and differ from the material examples. This paper will investigate these correspondences and discrepancies between verbal and artistic representation, and, in particular, what these similarities and inconsistencies reveal about the public function of this private imagery in the contemporary culture of ancient Roman Italy. -
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 -
3. Camillo Sitte's City Planning According to Artistic Principles Ends
Scattergories 3 Questions by Will Nediger and Jaimie Carlson Round 6 1. A “mountain” one of these objects titles the magnum opus of Petar II Petrović-Njegoš [pet-roh- vitch-nyay-gohsh], surely the most important work of Montenegrin literature. The top prize given at the Struga Poetry Evenings is named for one of these objects. An Emily Brontë poem written from the perspective of the Queen of Gondal addresses one of these objects “of snow.” The shape of these objects is suggested by the rhyme scheme of a George Herbert poem about one of these objects “of deservèd praise.” The titles of a set of fifteen poems by the Slovene poet France Prešeren [fron- TSEH preh-SHAY-ren] and a book of poems about (*) Emmett Till by Marilyn Nelson exemplify the fact that crowns of sonnets are often named for these objects. The Greek Anthology is based on a now-lost anthology by Meleager of Gadara named for one of these objects. For 10 points, the word “anthology” means a collection of flowers because of Meleager’s comparison of the poems he collected to what circular decorative objects? ANSWER: wreaths [or garlands] <WN> 2. A novel of spiritual disillusionment by Étienne Pivert de Senancour inspired this author’s poems “Stanzas in Memory of the Author of Obermann” and “Obermann Once More.” This author defined religion as “morality touched with emotion.” This poet wrote about how “rigorous teachers seized my youth, and purged its faith” in a poem which dramatizes a loss of faith with its image of “wandering between two (*) worlds, one dead, the other powerless to be born.” This man’s rejection of Christianity’s supernatural elements was influenced by his father Thomas, who was the headmaster of Rugby School. -
The Materiality of Magic
DIETRICH BOSCHUNG AND JAN N. BREMMER (EDS.) THE MATERIALITY OF MAGIC MORPHOMATA The Materiality of Magic is an exciting new book about an aspect of magic that is usually neglected. In the last two decades we have had many books and proceedings of conferences on the concept of magic itself as well as its history, formulas and incantations in antiquity, both in East and West. Much less attention, however, has been paid to the material that was used by the magicians for their conjuring activities. This is the first book of its kind that focuses on the material aspects of magic, such as amulets, drawings, figurines, gems, grimoires, rings, and voodoo dolls. The practice of magic required a specialist expertise that knew how to handle material such as lead, gold, stones, papyrus and terra cotta—material that sometimes was used for specific genres of magic. That is why we present in this well illustrated collection of studies new insights on the materiality of magic in antiquity by studying both the materials used for magic as well as the books in which the expertise was preserved. The main focus of the book is on antiquity, but we complement and contrast our material with examples ranging from the Ancient Near East, via early modern Europe, to the present time. BOSCHUNG, BREMMER (EDS.) – THE MATERIALITY OF MAGIC MORPHOMATA EDITED BY GÜNTER BLAMBERGER AND DIETRICH BOSCHUNG VOLUME 20 EDITED BY DIETRICH BOSCHUNG AND JAN N. BREMMER THE MATERIALITY OF MAGIC WILHELM FINK unter dem Förderkennzeichen 01UK0905. Die Verantwortung für den Inhalt der Veröffentlichung liegt bei den Autoren. -
Archaeological Evidence for Ship Eyes
ARCHAEOLOGICAL EVIDENCE FOR SHIP EYES: AN ANALYSIS OF THEIR FORM AND FUNCTION A Thesis by TROY JOSEPH NOWAK Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2006 Major Subject: Anthropology ARCHAEOLOGICAL EVIDENCE FOR SHIP EYES: AN ANALYSIS OF THEIR FORM AND FUNCTION A Thesis by TROY JOSEPH NOWAK Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Co-Chairs of Committee, George F. Bass Shelley Wachsmann Committee Members, Cemal Pulak Christoph Konrad Head of Department, David Carlson May 2006 Major Subject: Anthropology iii ABSTRACT Archaeological Evidence for Ship Eyes: An Analysis of Their Form and Function. (May 2006) Troy Joseph Nowak, B.A., Salisbury State University Co-Chairs of Advisory Committee: Dr. George F. Bass Dr. Shelley Wachsmann During the late 19th century, a number of large marble eyes were discovered near the Athenian naval facilities at Zea. Although initially published as the eyes of ancient Greek warships, many scholars have doubted the validity of this attribution. A range of hypotheses have been presented in attempts both to discredit the notion that they are ship eyes, and to re-classify these objects. Recent excavations of a Classical Period merchantman at Tektaş Burnu uncovered a pair of marble discs that again raise questions relating to the identity of the marble eyes from Zea. A review of alternative hypotheses relating to the identity of these objects based on textual, archaeological, and representational evidence, coupled with technical analyses of their construction, form, and decoration, leads to the conclusion that the marble eyes discovered at Zea, as well as the objects from Tektaş Burnu, adorned the bows of ancient Greek ships between the 5th and the 3rd centuries BC.