Wittenberg History Journal Spring 2015
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A Critical Analysis of the Legal and Quasi-Legal Recognition of the Underlying Principles and Norms of Cultural Heritage
A CRITICAL ANALYSIS OF THE LEGAL AND QUASI-LEGAL RECOGNITION OF THE UNDERLYING PRINCIPLES AND NORMS OF CULTURAL HERITAGE Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Charlotte Cassandra Woodhead LL.M Department of Law University of Leicester 2014 Charlotte Woodhead A critical analysis of the legal and quasi-legal recognition of the underlying principles and norms of cultural heritage Certain things, places and practices are valuable to particular individuals, communities, nations or to mankind to such a degree that the loss or destruction would be a misfortune to the culture, identity, heritage or religious practices of those people(s). For the purposes of this thesis, cultural heritage represents the intangible aspect of these important things, places and practices. It will be argued that despite the existence of various cultural heritage principles which represent the different types of value, public legacy and associated norms with its subject matter, these principles are not always effectively upheld in the governing legal regime, although a body of principles akin to legal ones has developed, from professional practice, codes of ethics and non-legal decision-making bodies. Recent legal intervention has responded to political imperatives at the risk of a clear and consistent regime to effectively meet the underlying principles of cultural heritage. The most effective means of fulfilling these principles and norms is by treating cultural heritage as an intangible legal concept, akin to property which in its English common law form is really a bundle of rights associated with things tangible or intangible rather than simply ownership and possession or the physical things themselves. -
Copyright by Amy Beth Angell 2017
Copyright by Amy Beth Angell 2017 The Thesis committee for Amy Beth Angell Certifies that this is the approved version of the following thesis: Images of Divinities in Functional Objects: A Study of Seventh-Century BCE Perirrhanteria in Greek Sanctuary Contexts APPROVED BY SUPERVISING COMMITTEE: __________________________________________ Athanasio (Nassos) Papalexandrou, Supervisor _________________________________________ Penelope Davies Images of Divinities in Functional Objects: A Study of Seventh-Century BCE Perirrhanteria in Greek Sanctuary Contexts by Amy Beth Angell, B.A. Thesis Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2017 Abstract Images of Divinities in Functional Objects: A Study of Seventh-Century BCE Perirrhanteria in Greek Sanctuary Contexts Amy Beth Angell, M.A. The University of Texas at Austin, 2017 Supervisor: Athanasio (Nassos) Papalexandrou Perirrhanteria in Greek sanctuaries are described in general terms as water basins for the purpose of purification. From the mid-seventh century to the early sixth century BCE, the perirrhanteria were made of marble, featured sculptural figures in the place of columnar stands, and found wide distribution among a variety of Greek sanctuaries. Due to the striking motif of the figurative stands, three or four female figures flanked by lions or standing on their backs, scholarship regarding the stone perirrhanteria has been centered on iconography and early monumental sculpture. Although preceding sculptural analyses provide useful information for the history of a motif, the relatively short lifespan of this particular basin type and its appearance in sanctuaries dedicated to an array of deities begs further study of its function in context. -
The Last Supper Seen Six Ways by Louis Inturrisi the New York Times, March 23, 1997
1 Andrea del Castagno’s Last Supper, in a former convent refectory that is now a museum. The Last Supper Seen Six Ways By Louis Inturrisi The New York Times, March 23, 1997 When I was 9 years old, I painted the Last Supper. I did it on the dining room table at our home in Connecticut on Saturday afternoon while my mother ironed clothes and hummed along with the Texaco. Metropolitan Operative radio broadcast. It took me three months to paint the Last Supper, but when I finished and hung it on my mother's bedroom wall, she assured me .it looked just like Leonardo da Vinci's painting. It was supposed to. You can't go very wrong with a paint-by-numbers picture, and even though I didn't always stay within the lines and sometimes got the colors wrong, the experience left me with a profound respect for Leonardo's achievement and a lingering attachment to the genre. So last year, when the Florence Tourist Bureau published a list of frescoes of the Last Supper that are open to the public, I was immediately on their track. I had seen several of them, but never in sequence. During the Middle Ages the ultima cena—the final supper Christ shared with His disciples before His arrest and crucifixion—was part of any fresco cycle that told His life story. But in the 15th century the Last Supper began to appear independently, especially in the refectories, or dining halls, of the convents and monasteries of the religious orders founded during the Middle Ages. -
Women in the Ancient Near East: a Sourcebook
WOMEN IN THE ANCIENT NEAR EAST Women in the Ancient Near East provides a collection of primary sources that further our understanding of women from Mesopotamian and Near Eastern civiliza- tions, from the earliest historical and literary texts in the third millennium BC to the end of Mesopotamian political autonomy in the sixth century BC. This book is a valuable resource for historians of the Near East and for those studying women in the ancient world. It moves beyond simply identifying women in the Near East to attempting to place them in historical and literary context, follow- ing the latest research. A number of literary genres are represented, including myths and epics, proverbs, medical texts, law collections, letters and treaties, as well as building, dedicatory, and funerary inscriptions. Mark W. Chavalas is Professor of History at the University of Wisconsin-La Crosse, where he has taught since 1989. Among his publications are the edited Emar: The History, Religion, and Culture of a Syrian Town in the Late Bronze Age (1996), Mesopotamia and the Bible (2002), and The Ancient Near East: Historical Sources in Translation (2006), and he has had research fellowships at Yale, Harvard, Cornell, Cal-Berkeley, and a number of other universities. He has nine seasons of exca- vation at various Bronze Age sites in Syria, including Tell Ashara/Terqa and Tell Mozan/Urkesh. ROUTLEDGE SOURCEBOOKS FOR THE ANCIENT WORLD HISTORIANS OF ANCIENT ROME, THIRD EDITION Ronald Mellor TRIALS FROM CLASSICAL ATHENS, SECOND EDITION Christopher Carey ANCIENT GREECE, THIRD EDITION Matthew Dillon and Lynda Garland READINGS IN LATE ANTIQUITY, SECOND EDITION Michael Maas GREEK AND ROMAN EDUCATION Mark Joyal, J.C. -
Jiroft” Chlorite Artefacts
IranicaAntiqua, vol. L, 2015 doi: 10.2143/IA.50.0.3053516 SEARCHING FOR MYTHOLOGICAL THEMES ON THE “JIROFT” CHLORITE ARTEFACTS BY Massimo VIDALE (University of Padua, Italy) Abstract: New evidence gathered at the plundered cemetery of Mahtoutabad, near the early urban compound of Konar Sandal South (Jiroft) confirms that here chlorite artifacts were used in elite funerals at the beginning of the second half of the 3rd millennium BCE. Some carved chlorite vessels from the Jiroft area and Shahdad represent a destructive flood, ending when a divinity lifts a rainbow in the sky. These images are compared with Old Babylonian and later cuneiform versions of flood myths. The paper also singles out indirect analogies with the flood narrative in Genesis 9, 12-17. Then it considers other images of fight between eagles and snakes, as possibly linked with parts of the famous and much discussed Mesopotamian poem of Etana (as already proposed in the past by Youssef Madjidzadeh). In spite of substantial divergences and discontinuities, at least in a crucial case the match between images and selected passages of the ancient sources appears more literal than previously suspected. It is argued that such similarities depended upon the wide circulation and sharing in the Middle and South Asia of the 3rd millennium BCE of codified oral versions of similar legendary themes (in form of narratives, through songs and rhymes). The Halil Rud stone carvers may have translated such intangible vanished heritage through standardized, formal images, in the context of a growing cultural and political interaction between the royal courts of Mesopotamia and those of the eastern pol- ity of Marhashi. -
Desire, Discord, and Death : Approaches to Ancient Near Eastern Myth / by Neal Walls
DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH ASOR Books Volume 8 Victor Matthews, editor Billie Jean Collins ASOR Director of Publications DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH by Neal Walls American Schools of Oriental Research • Boston, MA DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH Copyright © 2001 American Schools of Oriental Research Cover art: Cylinder seal from Susa inscribed with the name of worshiper of Nergal. Photo courtesy of the Louvre Museum. Cover design by Monica McLeod. Library of Congress Cataloging-in-Publication Data Walls, Neal H., 1962- Desire, discord, and death : approaches to ancient Near Eastern myth / by Neal Walls. p. cm. -- (ASOR books ; v. 8) Includes bibliographical references and indexes. ISBN 0-89757-056-1 -- ISBN 0-89757-055-3 (pbk.) 1. Mythology--Middle East. 2. Middle East--Literatures--History and crticism. 3. Death in literature. 4. Desire in literature. I. Title. II. Series. BL1060 .W34 2001 291.1'3'09394--dc21 2001003236 Contents ABBREVIATIONS vii ACKNOWLEDGEMENTS viii INTRODUCTION Hidden Riches in Secret Places 1 METHODS AND APPROACHES 3 CHAPTER ONE The Allure of Gilgamesh: The Construction of Desire in the Gilgamesh Epic INTRODUCTION 9 The Construction of Desire: Queering Gilgamesh 11 THE EROTIC GILGAMESH 17 The Prostitute and the Primal Man: Inciting Desire 18 The Gaze of Ishtar: Denying Desire 34 Heroic Love: Requiting Desire 50 The Death of Desire 68 CONCLUSION 76 CHAPTER TWO On the Couch with Horus and Seth: A Freudian -
The Story of the Last Supper Matthew 26:17-30
The Story of the Last Supper Matthew 26:17-30 Matthew 26:17-30 (From the Message Bible) 17 On the first of the Days of Unleavened Bread, the disciples came to Jesus and said, “Where do you want us to prepare your Passover meal?” 18-19 He said, “Enter the city. Go up to a certain man and say, ‘The Suggested Activities Teacher says, My time is near. I and my disciples plan to celebrate • Read the Bible story. the Passover meal at your house.’” The disciples followed Jesus’ • Read the “Thoughts” and instructions to the letter, and prepared the Passover meal. “Background Information about Passover.” 20-21 After sunset, He and the Twelve were sitting around the table. • Make your own During the meal, He said, “I have something hard but important to unleavened bread. say to you: One of you is going to hand me over to the • For more information conspirators.” about Passover in the Bible, read in the book of 22 They were stunned, and then began to ask, one after another, “It Exodus. isn’t me, is it, Master?” Service Ideas 23-24 Jesus answered, “The one who hands me over is someone I eat with daily, one who passes me food at the table. In one sense the • Help make dinner for Son of Man is entering into a way of treachery well-marked by the your family this week. Scriptures—no surprises here. In another sense that man who Help clean up afterwards turns him in, turns traitor to the Son of Man—better never to have too! been born than do this!” Share Your Work 25 Then Judas, already turned traitor, said, “It isn’t me, is it, Rabbi?” • Email or Facebook message a picture of you Jesus said, “Don’t play games with me, Judas.” reading this packet, 26-29 making unleavened During the meal, Jesus took and blessed the bread, broke it, bread, or your finished and gave it to His disciples: bread. -
Title a New Proposal on the Chronological Order of the Moses
Title A new proposal on the chronological order of the Moses and Christ frescoes in the Sistine Chapel Sub Title システィーナ礼拝堂装飾壁画の 〈モーセ伝〉 と 〈キリスト伝〉 連作の制作順序について Author 荒木, 文果(Araki, Fumika) Publisher 慶應義塾大学日吉紀要刊行委員会 Publication year 2019 Jtitle 慶應義塾大学日吉紀要. 人文科学 (The Hiyoshi review of the humanities). No.34 (2019. ) ,p.1- 26 Abstract Notes 挿図 Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AN10065043-2019063 0-0001 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel 1 A New Proposal on the Chronological Order of the Moses and Christ Frescoes in the Sistine Chapel Fumika Araki Introduction In 1481, Pope Sixtus IV della Rovere (papacy: from 1471 to 1484) invited four Umbrian and Florentine painters, Pietro Perugino (c. 1450–1523), Cosimo Rosselli (1439–1507), Domenico Ghirlandaio (1449–1494) and Sandro Botticelli (c. 1445– 1510), to Rome to decorate the entire walls of the pontifical chapel taking his name, the Sistine Chapel [Fig. 1]. These painters were considered to be the most skillful artists at that time and all of them had already managed their own workshop. The walls of the chapel were horizontally divided into three registers [Fig. -
The Early History of the Lord's Supper
The Early History of the Lord's Supper Henk Jan de Jonge (Leiden Umversity) Shape and Functwn ofthe Community Supper m Connth As an histoncal phenomenon the Lord's Supper becomes perceptible for the first time m the first epistle of Paul to the Cormthians shortly after the middle of the first Century C.E.1 The Cormthian Community meal was a dapnon (l Cor 11:20, 21), that is to say, a supper, the mam meal at the end of the day. It was followed by a Community meeting, for which l Cor 12-14 contams directions.2 Apparently, this supper and meeting took place every Sunday (l Cor 16:2). Since Sunday was a working day, the meal could only commence in the evenmg (or m the late afternoon at the earliest). "The Lord's Supper" (11:20) was a real meal; it was certamly meant to satisfy the participants' hunger. But it was also more than just an ordmary meal, it estabhshed the unity of the congregation: "Because there is one loaf, we, though many, are one body; for it is one loaf of which we all partake" (10:17). According to Paul, this unity came about through the participants' dnnking from the cup and eatmg the bread and their recognition that, in domg this, they became one body with Christ (10:14-17). This recognition, that is, this sacramental Interpretation of the meal, may have been formulated in the blessings with which the meal was opened. In short, the Lord's Supper was a real äs well äs a sacramental meal. -
Transformation of a Goddess by David Sugimoto
Orbis Biblicus et Orientalis 263 David T. Sugimoto (ed.) Transformation of a Goddess Ishtar – Astarte – Aphrodite Academic Press Fribourg Vandenhoeck & Ruprecht Göttingen Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Publiziert mit freundlicher Unterstützung der PublicationSchweizerischen subsidized Akademie by theder SwissGeistes- Academy und Sozialwissenschaften of Humanities and Social Sciences InternetGesamtkatalog general aufcatalogue: Internet: Academic Press Fribourg: www.paulusedition.ch Vandenhoeck & Ruprecht, Göttingen: www.v-r.de Camera-readyText und Abbildungen text prepared wurden by vomMarcia Autor Bodenmann (University of Zurich). als formatierte PDF-Daten zur Verfügung gestellt. © 2014 by Academic Press Fribourg, Fribourg Switzerland © Vandenhoeck2014 by Academic & Ruprecht Press Fribourg Göttingen Vandenhoeck & Ruprecht Göttingen ISBN: 978-3-7278-1748-9 (Academic Press Fribourg) ISBN:ISBN: 978-3-525-54388-7978-3-7278-1749-6 (Vandenhoeck(Academic Press & Ruprecht)Fribourg) ISSN:ISBN: 1015-1850978-3-525-54389-4 (Orb. biblicus (Vandenhoeck orient.) & Ruprecht) ISSN: 1015-1850 (Orb. biblicus orient.) Contents David T. Sugimoto Preface .................................................................................................... VII List of Contributors ................................................................................ X -
Dear Parishioners
June 06, 2021 THE SOLEMNITY OF THE MOST HOLY BODY AND Solemnity of The Most Holy Body BLOOD OF CHRIST and Blood Of Christ LIFE OF STEWARDSHIP Today we celebrate Corpus Christi — the Body and Blood of Christ. Jesus’ Body and Blood was sacrificed for us on Calvary, but before that excruciating event, He humbly bound Himself to human hands in the Eucharist. As St. Thomas Aquinas expresses, “In this sacrament sins are purged away, virtues are increased, the soul satiated with an abundance of every spiritual gift. No other sacrament is so beneficial.” Jesus gave us the perfect and loving Gift of Himself so that we might be nourished, strengthened and more fully united to Him as we journey to eternal life. This glorious solemnity calls us to reflect on the precious gift of the Eucharist and what it truly means for us as Catholics. Our Gospel today recounts the Last Supper. As Jesus ate the Passover meal with His apostles, He broke bread, telling them, “This is my Body,” and again, poured wine, saying, “This is my Blood… which will be shed for many.” In this moment, Jesus sacrificially gave us Himself in the Eucharist by foreshadowing His passion, death and resurrection. The Eucharist, what we celebrate at each “I will take the cup of salvation ,and Mass, is the real presence of our Savior — Body, Blood, Soul and Divinity. It is not a symbol of Jesus or even just a piece of Him. It is all of Him, given to each of us. As St. Catherine of Siena call on the name of the Lord.” said, “Even if it would be possible to fragment the Holy Eucharist into thousands of tiny Particles, in each one of the tiny Particles there is the presence of Christ, the whole God and the whole Man.” Important Announcement Out of total love, Jesus holds nothing back from us. -
The Scientific Narrative of Leonardo╎s Last Supper
Best Integrated Writing Volume 5 Article 4 2018 The Scientific Narrative of Leonardo’s Last Supper Amanda Grieve Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/biw Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Classical Archaeology and Art History Commons, and the International and Area Studies Commons Recommended Citation Grieve, A. (2018). The Scientific Narrative of Leonardo’s Last Supper, Best Integrated Writing, 5. This Article is brought to you for free and open access by CORE Scholar. It has been accepted for inclusion in Best Integrated Writing by an authorized editor of CORE Scholar. For more information, please contact library- [email protected]. AMANDA GRIEVE ART 3130 The Scientific Narrative of Leonardo’s Last Supper AMANDA GRIEVE ART 3130: Leonardo da Vinci, Fall 2017 Nominated by: Dr. Caroline Hillard Amanda Grieve is a senior at Wright State University and is pursuing a BFA with a focus on Studio Painting. She received her Associates degree in Visual Communications from Sinclair Community College in 2007. Amanda notes: I knew Leonardo was an incredible artist, but what became obvious after researching and learning more about the man himself, is that he was a great thinker and intellectual. I believe those aspects of his personality greatly influenced his art and, in large part, made his work revolutionary for his time. Dr. Hillard notes: This paper presents a clear and original thesis about Leonardo da Vinci’s Last Supper that incorporates important scholarly research and Leonardo’s own writings. The literature on Leonardo is extensive, yet the author has identified key studies and distilled their essential contributions with ease.