Beyond the Existing Readings of Marc Chagall's Crucifixion Paintings
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Outlaw: Wilderness and Exile in Old and Middle
THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Michelle Haughey August 2011 © 2011 Sarah Michelle Haughey THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE Sarah Michelle Haughey, Ph. D. Cornell University 2011 This dissertation, The ‘Bestli’ Outlaw: Wilderness and Exile in Old and Middle English Literature explores the reasons for the survival of the beast-like outlaw, a transgressive figure who highlights tensions in normative definitions of human and natural, which came to represent both the fears and the desires of a people in a state of constant negotiation with the land they inhabited. Although the outlaw’s shelter in the wilderness changed dramatically from the dense and menacing forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, the outlaw remained strongly animalistic, other, and liminal, in strong contrast to premodern notions of what it meant to be human and civilized. I argue that outlaw narratives become particularly popular and poignant at moments of national political and ecological crisis—as they did during the Viking attacks of the Anglo-Saxon period, the epoch of intense natural change following the Norman Conquest, and the beginning of the market revolution at the end of the Middle Ages. Figures like the Anglo-Saxon resistance fighter Hereward, the exiled Marcher lord Fulk Fitz Waryn, and the brutal yet courtly Gamelyn and Robin Hood, represent a lost England imagined as pristine and forested. -
Vase De Fleurs Dans La Fenêtre
SP 5425 MARC CHAGALL Vitebsk, Russia 1887 - 1985 Saint-Paul-de-Vence, France Vase de fleurs dans la fenêtre Signed lower right: Chagall Gouache and pastel on paper laid down on board: 24 3/16 x 19 7/16 in / 61.5 x 49.4 cm Frame size: 34 in / 88.6 x 76.8 cm Painted in 1935-36 Provenance: James Vigeveno Galleries, Los Angeles Joan Fontaine (1917-2013), Los Angeles, acquired from the above circa 1945 and sold to benefit The Society for the Prevention of Cruelty to Animals, Monterey County, California Exhibited: Pasadena Art Museum, Seventieth Anniversary Exhibition, Marc Chagall, 26th May – 28th July 1957, no. 28 (as Flowers, 1938) The Comité Marc Chagall has confirmed the authenticity of this work and is recorded by them as No: 2008086. “Supernatural” declared the French poet and art critic, Guillaume Apollinaire, upon seeing Chagall’s work for the first time. An apt description of this remarkable, luxuriant flower piece whose fantastic, iridescent forms entwine into rich, intricate layers of texture and tone. Rising from a small, central vase, Chagall’s intense and exubrant flowers almost fill the canvas, the vibrant blooms exploding from their verdant, blue/green foliage like fireworks. A delicate balance of painting and drawing, the arrangement defines and densely layers a variety of flora, contrasting luscious passages of brilliant, opaque colour with bright patches of paper, revealing the artist’s sophisticated gouache technique and power as a colourist. A lyrical painter-poet in his own right, Chagall’s vital vision of miraculous bounty is framed, but not bounded by an open window on the left with two ethereal figures delineated beneath in a pale, otherworldly predella. -
Iran – Researched and Compiled by the Refugee Documentation Centre of Ireland on 11 September 2012
Iran – Researched and compiled by the Refugee Documentation Centre of Ireland on 11 September 2012 Information on the penalty under Iranian law for fornication between a single man and a married woman? Is this law widely implemented? Are there any reported convictions? The 1991 Islamic Penal Code of Iran, in “Chapter 3: Types of Punishments for Adultery” (Article 82), states: “The penalty for adultery in the following cases shall be death, regardless of the age or marital status of the culprit: (1) Adultery with one’s consanguineous relatives (close blood relatives forbidden to each other by religious law); (2) Adultery with one’s stepmother in which the adulterer’s punishment shall be death; (3) Adultery between a non-Muslim man and a Muslim woman, in which case the adulterer (non-Muslim man) shall receive the death penalty; (4) Forcible rape, in which case the rapist shall receive the death penalty.” (Islamic Republic of Iran (28 November 1991) Islamic Penal Code of Iran) A US Congressional Research Service document, in a paragraph headed “Stonings”, states: “In 2002, the head of Iran’s judiciary issued a ban on stoning. However, Iranian officials later called that directive ‘advisory’ and could be ignored by individual judges. On December 2, 2008, Iran confirmed the stoning deaths of two men in Mashhad who were convicted of adultery. A sentence of stoning against a 45-year-old woman (Sakineh Ashtiani) convicted of adultery and assisting in the murder of her husband was set aside for further review in July 2010. An Iranian parliamentarian said on January 17, 2011, the stoning sentence was dropped but she would serve 10 years in prison.” (US Congressional Research Service (23 March 2012) Iran: U.S. -
Modern Literary Exile: the Ones Who Stay and the Ones Who Leave
MODERN LITERARY EXILE: THE ONES WHO STAY AND THE ONES WHO LEAVE by KLEITIA VASO (Under the Direction of Katarzyna Jerzak) ABSTRACT Before the nineteenth century, exile denoted forceful banishment from one’s home city or country. In the mid-nineteenth century, Charles Baudelaire redefined the meaning of exile by including internal exile as a manifestation of the condition. This displacement excludes a physical uprooting and is strictly internal. In addition to this acquired layer of meaning, the question of exile is complicated further by the modern author’s assumed distance from the rest of the community. In order to explore the symptoms and consequences of physical, geographical exile, this thesis offers a comparison between Fernando Pessoa and Orhan Pamuk, two authors who are physically and creatively rooted in their native cities, and Vladimir Nabokov, Joseph Brodsky, and André Aciman, three exiled authors whose work is fueled by their exilic condition. INDEX WORDS: redefinition of exile, internal exile, geographical exile, native city, nostalgia, modernity, alienation, displacement, Baudelaire, Pessoa, Pamuk, Nabokov, Brodsky, and Aciman. MODERN LITERARY EXILE: THE ONES WHO STAY AND THE ONES WHO LEAVE by KLEITIA VASO B.A., The University of Georgia, 2004 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2009 © 2009 Kleitia Vaso All Rights Reserved MODERN LITERARY EXILE: THE ONES WHO STAY AND THE ONES WHO LEAVE by KLEITIA VASO Major Professor: Katarzyna Jerzak Committee: Ronald Bogue Thomas Cerbu Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2009 ACKNOWLEDGEMENTS I would like to thank my family for their love and support, and my committee for their direction and the general enrichment of my college education. -
Bosnian Rape Camps, Turkish Impalement, and Serb Cultural Memory
Dartmouth College Dartmouth Digital Commons Open Dartmouth: Published works by Dartmouth faculty Faculty Work 2002 Crossing the River Drina: Bosnian Rape Camps, Turkish Impalement, and Serb Cultural Memory Lynda E. Boose Dartmouth College Follow this and additional works at: https://digitalcommons.dartmouth.edu/facoa Part of the Women's Studies Commons Dartmouth Digital Commons Citation Boose, Lynda E., "Crossing the River Drina: Bosnian Rape Camps, Turkish Impalement, and Serb Cultural Memory" (2002). Open Dartmouth: Published works by Dartmouth faculty. 2051. https://digitalcommons.dartmouth.edu/facoa/2051 This Article is brought to you for free and open access by the Faculty Work at Dartmouth Digital Commons. It has been accepted for inclusion in Open Dartmouth: Published works by Dartmouth faculty by an authorized administrator of Dartmouth Digital Commons. For more information, please contact [email protected]. Crossing the River Drina: Bosnian Rape Camps, Turkish Impalement, and Serb Cultural Memory Author(s): Lynda E. Boose Source: Signs, Vol. 28, No. 1, Gender and Cultural Memory (Autumn, 2002), pp. 71-96 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/3175701 Accessed: 14/05/2009 20:34 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. -
Hommage À Chagall Spectacle Musical Teatr Groteska
Service Jeune Public SAISON 2011-2012 Jeu Service Mirum: Vivamus est ipsum, vehicula nec, feugiat ne p rhoncus, accumsan id, nisl. Lorem ipsum dolor sit Jeune Public amet, consectetuer Dossier Dossier Pédagogique Hommage à Chagall Spectacle musical Entre théâtre et peinture, arts du masque et de Directeur : Adolf Weltschek - Scénographie : la marionnette, Adolf Weltschek et le Théâtre Malgorzata Mercredi 14 décembre Groteska de Cracovie rendent à travers leur ZwoliĎska - Musique et enregistrements 19h tournée européenne un hommage inspiré au sonores : Roman peintre Marc Chagall. Réalisé sans paroles, Opuszynski - Système de moteur : Katarzyna Seance scolaire : mais en musique, la performance revèle toute Skawinska - Jeudi 15 décembre la puissance poétique de l’univers artistiques de Directeur II : Lech Walicki - Mise en oeuvre de Chagall à travers ses personnages aériens, ses l'animation par ordinateur : Pawel Weremiuk 14h30 couleurs caractéristiques, ses motifs familiers Avec : Monika Filipowicz, Oliwia Jakubik, Diana comme le coq et le bœuf. Jedrzejewska, Maja Kubacka, Kataryna L’évocation prend la forme d’un véritable hymne Kuzmicz, Iwona Olszewska, Marek Karpowicz, Sommaire à l’amour, celui que porte le peintre à sa femme Bogdan Nowak / Pawel Mroz, Rafal Szumski, Belle. Préservé par l’harmonie de leur couple et Lech Walicki et Bartosz Watemborski Note d’intention 2 le pouvoir de l’union plus forte que la mort, Exposition au Musée des Beaux-Arts Marc et Bella Chagall échappent aux realités 2 sociopolitiques du XXème siècle. Entré dans Biographie 3 l’ordre cosmique et dépassant les contingences du monde réel, leur amour atteint une Quelques citations de Marc Chagall 4 dimension métaphysique. -
Tolerant Criminal Law of Rome in the Light of Legal and Rhetorical Sources
UWM Studia Prawnoustrojowe 25 189 2014 Artyku³y Przemys³aw Kubiak Katedra Prawa Rzymskiego Wydzia³ Prawa i Administracji Uniwersytetu £ódzkiego Some remarks on tolerant criminal law of Rome in the light of legal and rhetorical sources Introduction Roman criminal law, as majority of ancient legal systems, is commonly considered cruel and intolerant. Most of these negative views is based on the fact that the Romans created and used a great variety of painful and severe penalties, very often accompanied by different kinds of torture or disgrace1. Although such opinions derive from legal and literary sources, occasionally in their context a very important factor seems to be missing. Sometimes in the process of evaluation of foreign or historical legal systems researchers make a mistake and use modern standards, both legal and moral, and from this point of view they proclaim their statements. This incorrect attitude may lead to ascertainment that no legal system before 20th century should be judged positively in this aspect. However, the goal of this paper is not to change those statements, as they are based on sources, but rather to give examples and to underline some important achievements of Roman crimi- nal law which, sometimes forgotten or disregarded, should be considered in the process of its historical evaluation. 1 The most cruel are definitely aggravated forms of death penalty, such as crucifixion (crux), burning alive (vivi crematio), throwing to wild animals during the games (damnatio ad bestias), throwing to the sea in a sack with ritual animals (poena cullei). These are the most common, but during the history of Roman empire there existed many other severe kinds of capital punishment, see A.W. -
Governments-In-Exile in World Politics
Journal of Political Science Volume 18 Number 1 Article 8 November 1990 Introduction: Governments-In-Exile In World Politics Yossi Shain Follow this and additional works at: https://digitalcommons.coastal.edu/jops Part of the Political Science Commons Recommended Citation Shain, Yossi (1990) "Introduction: Governments-In-Exile In World Politics," Journal of Political Science: Vol. 18 : No. 1 , Article 8. Available at: https://digitalcommons.coastal.edu/jops/vol18/iss1/8 This Article is brought to you for free and open access by the Politics at CCU Digital Commons. It has been accepted for inclusion in Journal of Political Science by an authorized editor of CCU Digital Commons. For more information, please contact [email protected]. GOVERNMENTS-IN-EXIl.E IN WORLD POLITICS Yossi Shain Editor Scholars of international politics have recently focused their attention on the activities of governments-in-exile due to the central role they play in long-standing conflicts in the Middle East. Afghanistan. Southwestern Africa and Cambodia . This special issue of the Journal of Political Science is a preliminary attempt to address historical. political. and theoretical aspects of the techniques and effects of governments-in-exile in contempo rary world politics. The case studies and the theoretical essay examine issues such as the limits of sovereignty; the elusive nature of representation in the absence of effective control over a home territory; the role of host states; international legitima tion and recognition; governments-in-exile as political tools in the hands of their foreign patrons; and finally, the actual and symbolic importance of governments-in-exile in the preservation of diasporic nations and cultures. -
The Memoirs of a White Elephant
c-> fUWsrlXT' > =n O i fn 8 %>*^| "V/fMa/MMft.jUV* . THE MEMOIRS OF A WHITE ELEPHANT THE MEMOIRS OF A WHITE ELEPHANT BY JUDITH GAUTIER TRANSLATED FROM THE FRENCH BY S. A. B. HARVEY ILLUSTRATED BY L. H. SMITH AND S. B. KITE Copyright, 1916 by DUFFIELD & COMPANY /0,3 . FOREWORD (Avant-propos) We are told by writers of antiquity that ele- phants have written sentences in Greek, and that one of them was even known to speak. There is, therefore, nothing unreasonable in the supposi- tion that the White Elephant of this history, the famous "Iravata" so celebrated throughout Asia, should have written his own memoirs. The story of his long existence at times so glorious, and at other times so full of misfor- tune in the kingdom of Siam, and the India of the Maharajahs and the English, is full of most curious and interesting adventure. After being almost worshipped as an idol, Ira- vata becomes a warrior; he is made prisoner with his master, whose life he saves, and whom he assists to escape. 578639 LISRAR? FOREWORD Later he is deemed worthy to be the guardian and companion of the lovely little Princess Par- vati, for whose amusement he invents wonderful games, and to whom he renders a loving service. We see how a wicked sentiment having crept into the heart of the faithful Elephant, usually so wise and good, he is separated for a long time from his beloved Princess, and meets with pain- ful and trying experiences. But at last he once more finds his devoted friend the Princess, and her forgiveness restores him to happiness. -
Elephants As Enemies in Ancient Rome
Concentric: Literary and Cultural Studies 32.1 January 2006: 3-25. Elephants as Enemies in Ancient Rome Jo-Ann Shelton University of California at Santa Barbara Abstract The ancient Romans enjoyed watching spectacles in which elephants were tormented or killed because these animals had been endowed with symbolic significance. They were identified as agents both of a hostile nature which threatened human security, and of the human military opponents which had challenged the Romans in the third century BCE. The purpose of this paper is to explore the identification which the Romans made between elephants and enemies and to propose that this identification caused them to view elephants as a particularly satisfying target for abuse. I will examine how ancient writers reflected, fostered and exploited the association of elephants with adversaries, and I will discuss how the ability to dominate elephants in an arena spectacle symbolized Rome’s ability to conquer, to civilize, and to bend both the natural and political worlds to its will. Keywords ancient Romans, elephants, animal domestication, domesticated species, animal spectacles, animal symbols, animal abuse, Hannibal, Pyrrhus, Lucretius 4 Concentric 32.1 January 2006 Introduction Throughout our history as agriculturalists and pastoralists, humans have divided animals into two categories: domesticated species, which we have valued because their easy management and dependably docile natures have enabled us to exploit them for food, clothing, labor, and companionship; and wild species, which we have been eager to exterminate because they consumed our food supplies, threatened our lives, or occupied land that we wanted to inhabit. Designation as a domesticated species has not guaranteed humane treatment for an animal, but it has brought food, shelter, protection from predators, and encouragement to reproduce. -
“Damnatio Ad Bestias”; Or, Condemnation to Beasts: the Digital As Animal
PEER - REVIEWED ARTICLE “Damnatio ad Bestias”; or, Condemnation to Beasts: The Digital as Animal Lucia Nguyen A meretricious glitter lies over the whole of this civilisation.1 —Johan Huizinga The victory, like the blood, is sweet.2 —Neil Gaiman RomE wasn’t built in a day, but perhaps it only takes 24 hours to dismantle it. In contemporary life, where mobile devices exist as pervasive and near-permanent human prostheses, the increasing digitisation of communication and the corresponding embrace of “computationalism” ensure that human conceptions of reality are ir- reversibly mediatised.3 Objectivity spars with emotional appeal, and miscommunication runs rampant in digital discourse. And yet, to castigate online media, and hold it responsible for an unforeseen age of incivility, would be myopic. Violence may be more easily inflicted on the internet’s democratised playing field, but violent punish- ment—and its modes of representation—has long masqueraded Philament: A Journal of Literature, Arts, and Culture 2018, vol. 24, no. 2. © 2018 Philament and the respective author. All rights reserved. 49 as public entertainment. The Colosseum fixed bloodthirst at its very epicentre, yet famously redressed it as “gladiatorial spectacle,” to be fed to the public as bread and circuses.4 As Claudio Colaguori claims, to argue about the origin of violence in the contemporary world is to argue about its heritage, and not its genesis.5 Digital violence is a hybrid of all barbarism that has come before, and an augural reading of the apocalyptic phantasmagoria -
The Punishment of Burning in the Hebrew Bible
Bar, “The Punishment of Burning” OTE 25/1 (2012): 27-39 27 The Punishment of Burning in the Hebrew Bible SHAUL BAR (UNIVERSITY OF MEMPHIS) ABSTRACT Different modes of executing people are mentioned in the Hebrew Bible. Among them we find the punishment of burning which also existed in the Ancient Near East. Thus, the question posed here is: what is the significance of describing this form of death? In order to arrive at an answer, we examine the episodes which describe death by burning to see in which context they appear. We will show that the punishment of burning in the Hebrew Bible appears in cases of illicit sex, sacrilege, and as a threat. In addition we will demon- strate that burning people to death was a bad omen and that it meant total obliteration of the dead. Execution by burning meant non-burial; this was an end to continuity and the final extinction of the deceased, who had not been “gathered to his ancestors.” In other words the punishment of burning shows a belief in posthu- mous concept. 1 INTRODUCTION Texts from the Ancient Near East rarely describe how the condemned were put to death. For example, when the Code of Hammurabi prescribes death for those who commit a particular crime, the method of execution is not specified,1 except in a few cases that stipulated drowning,2 burning, etcetera.3 The Bible, he shall be put to death.” We have“ מות יומת too, generally employs the laconic definite knowledge of only two forms of execution: stoning (after which the corpse was suspended in public view) and burning.