Hunting As a Sacred Event in Germanic and Georgian Mythologies
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Religious Symbolism in Salvador Dali's Art: a Study of the Influences on His Late Work
East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2012 Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work. Jessica R. Hawley East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/honors Part of the Fine Arts Commons Recommended Citation Hawley, Jessica R., "Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work." (2012). Undergraduate Honors Theses. Paper 34. https://dc.etsu.edu/honors/34 This Honors Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. ’ A t: A Study of the Influences on His Late Work Thesis submitted in partial fulfillment of Honors By Jessica Hawley The Honors College Fine and Performing Art Scholars Program East Tennessee State University April 6, 2012 Dr. Scott Contreras-Koterbay, Faculty Mentor Dr. Peter Pawlowicz, Faculty Reader Patrick Cronin, Faculty Reader Hawley 2 Table of Contents Preface 3 Chapter 1: ’ Ch h 4 Chapter 2: Surrealism 7 Chapter 3: War 10 Chapter 4: Catholicism 12 Chapter 5: Nuclear Mysticism 15 Conclusion 18 Images 19 Bibliography 28 Hawley 3 Preface Salvador was an artist who existed not long before my generation; yet, his influence among the contemporary art world causes many people to take a closer look at the significance of the imagery in his paintings. -
Byzantine Missionaries, Foreign Rulers, and Christian Narratives (Ca
Conversion and Empire: Byzantine Missionaries, Foreign Rulers, and Christian Narratives (ca. 300-900) by Alexander Borislavov Angelov A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in The University of Michigan 2011 Doctoral Committee: Professor John V.A. Fine, Jr., Chair Professor Emeritus H. Don Cameron Professor Paul Christopher Johnson Professor Raymond H. Van Dam Associate Professor Diane Owen Hughes © Alexander Borislavov Angelov 2011 To my mother Irina with all my love and gratitude ii Acknowledgements To put in words deepest feelings of gratitude to so many people and for so many things is to reflect on various encounters and influences. In a sense, it is to sketch out a singular narrative but of many personal “conversions.” So now, being here, I am looking back, and it all seems so clear and obvious. But, it is the historian in me that realizes best the numerous situations, emotions, and dilemmas that brought me where I am. I feel so profoundly thankful for a journey that even I, obsessed with planning, could not have fully anticipated. In a final analysis, as my dissertation grew so did I, but neither could have become better without the presence of the people or the institutions that I feel so fortunate to be able to acknowledge here. At the University of Michigan, I first thank my mentor John Fine for his tremendous academic support over the years, for his friendship always present when most needed, and for best illustrating to me how true knowledge does in fact produce better humanity. -
Status and Protection of Globally Threatened Species in the Caucasus
STATUS AND PROTECTION OF GLOBALLY THREATENED SPECIES IN THE CAUCASUS CEPF Biodiversity Investments in the Caucasus Hotspot 2004-2009 Edited by Nugzar Zazanashvili and David Mallon Tbilisi 2009 The contents of this book do not necessarily reflect the views or policies of CEPF, WWF, or their sponsoring organizations. Neither the CEPF, WWF nor any other entities thereof, assumes any legal liability or responsibility for the accuracy, completeness, or usefulness of any information, product or process disclosed in this book. Citation: Zazanashvili, N. and Mallon, D. (Editors) 2009. Status and Protection of Globally Threatened Species in the Caucasus. Tbilisi: CEPF, WWF. Contour Ltd., 232 pp. ISBN 978-9941-0-2203-6 Design and printing Contour Ltd. 8, Kargareteli st., 0164 Tbilisi, Georgia December 2009 The Critical Ecosystem Partnership Fund (CEPF) is a joint initiative of l’Agence Française de Développement, Conservation International, the Global Environment Facility, the Government of Japan, the MacArthur Foundation and the World Bank. This book shows the effort of the Caucasus NGOs, experts, scientific institutions and governmental agencies for conserving globally threatened species in the Caucasus: CEPF investments in the region made it possible for the first time to carry out simultaneous assessments of species’ populations at national and regional scales, setting up strategies and developing action plans for their survival, as well as implementation of some urgent conservation measures. Contents Foreword 7 Acknowledgments 8 Introduction CEPF Investment in the Caucasus Hotspot A. W. Tordoff, N. Zazanashvili, M. Bitsadze, K. Manvelyan, E. Askerov, V. Krever, S. Kalem, B. Avcioglu, S. Galstyan and R. Mnatsekanov 9 The Caucasus Hotspot N. -
Review for Igitur (Italy) — Mai 13, 2003 — Pg 1 Review of Mify Narodov Mira (“Myths of the Peoples of the World”), Chief Editor S
Review for Igitur (Italy) — mai 13, 2003 — pg 1 Review of Mify narodov mira (“Myths of the peoples of the world”), chief editor S. A. Tokarev. Moscow: Sovetskaia Entsiklopediia, 1987. Two volumes, 1350 pp. Reviewed by Kevin Tuite, Dépt. d’anthropologie, Univ. de Montréal. 1. Introductory remarks. The encyclopedia under review (henceforth abbreviated MNM) is an alphabetically-arranged two-volume reference work on mythology, compiled by a team of Soviet scholars. Among the eighty or so contributors, two individuals, the celebrated Russian philologists Viacheslav V. Ivanov and Vladimir N. Toporov, wrote most of the longer entries, as well as the shorter articles on Ket, Hittite, Baltic, Slavic and Vedic Hindu mythologies. Other major contributors include Veronika K. Afanas’eva (Sumerian and Akkadian), L. Kh. Akaba and Sh. Kh. Salakaia (Abkhazian), S. B. Arutiunian (Armenian), Sergei S. Averintsev (Judaism and Christianity), Vladimir N. Basilov (Turkic), Mark N. Botvinnik, V. Iarkho and A. A. Takho-Godi (Greek), Mikheil Chikovani and G. A. Ochiauri (Georgian), V. A. Kaloev (Ossetic), Elena S. Kotliar (African), Leonid A. Lelekov (Iranian), A. G. Lundin and Il’ia Sh. Shifman (Semitic), Eleazar M. Meletinskii (Scandinavian, Paleo-Siberian), L. E. Miall (Buddhism), M. I. Mizhaev (Circassian), Mikhail B. Piotrovskii (Islam), Revekka I. Rubinshtein (Egyptian), Elena M. Shtaerman (Roman). Most of the thousands of entries are sketches of deities and other mythological characters, including some relatively obscure ones, from a number of classical and modern traditions. Coverage is especially extensive for the classical Old World and the indigenous populations of the former USSR, but Africa, Asia and the Americas are well represented. -
Old Germanic Heritage in Metal Music
Lorin Renodeyn Historical Linguistics and Literature Studies Old Germanic Heritage In Metal Music A Comparative Study Of Present-day Metal Lyrics And Their Old Germanic Sources Promotor: Prof. Dr. Luc de Grauwe Vakgroep Duitse Taalkunde Preface In recent years, heathen past of Europe has been experiencing a small renaissance. Especially the Old Norse / Old Germanic neo-heathen (Ásatrú) movement has gained popularity in some circles and has even been officially accepted as a religion in Iceland and Norway among others1. In the world of music, this renaissance has led to the development of several sub-genres of metal music, the so-called ‘folk metal’, ‘Viking Metal’ and ‘Pagan Metal’ genres. Acknowledgements First and foremost I would like to thank my promoter, prof. dr. Luc de Grauwe, for allowing me to choose the subject for this dissertation and for his guidance in the researching process. Secondly I would like to thank Sofie Vanherpen for volunteering to help me with practical advice on the writing process, proof reading parts of this dissertation, and finding much needed academic sources. Furthermore, my gratitude goes out to Athelstan from Forefather and Sebas from Heidevolk for their co- operation in clarifying the subjects of songs and providing information on the sources used in the song writing of their respective bands. I also want to thank Cris of Svartsot for providing lyrics, translations, track commentaries and information on how Svartsot’s lyrics are written. Last but not least I want to offer my thanks to my family and friends who have pointed out interesting facts and supported me in more than one way during the writing of this dissertation. -
A Dictionary of Kashmiri Proverbs & Sayings
^>\--\>\-«s-«^>yss3ss-s«>ss \sl \ I'!- /^ I \ \ "I I \ CORNELL UNIVERSITY LIBRARY Cornell University Library PN 6409.K2K73 A dictionary of Kashmiri proverbs & sayi 3 1924 023 043 809 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023043809 — : DICTIONARY KASHMIRI PROVERBS & SAYINGS Explained and Illustrated from the rich and interesting Folklore of the Valley. Rev. J. HINTON KNOWLES, F.R.G.S., M.R.A.S., &c., (C. M. S.) MISSIONARY TO THE KASHMIRIS. A wise man will endeavour " to understand a proverb and the interpretation." Prov. I. vv. 5, 6. BOMBAY Education Society's Press. CALCUTTA :—Thackbb, Spink & Co. LONDON :—Tetjenee & Co. 1885. \_All rights reserved.'] PREFACE. That moment when an author dots the last period to his manuscript, and then rises up from the study-chair to shake its many and bulky pages together is almost as exciting an occasion as -when he takes a quire or so of foolscap and sits down to write the first line of it. Many and mingled feelings pervade his mind, and hope and fear vie with one another and alternately overcome one another, until at length the author finds some slight relief for his feelings and a kind of excuse for his book, by writing a preface, in which he states briefly the nature and character of the work, and begs the pardon of the reader for his presumption in undertaking it. A winter in Kashmir must be experienced to be realised. -
The Meaning of Dæl. Symbolic and Spatial Associations of the South Caucasian Goddess of Game Animals
THE MEANING OF DÆL. SYMBOLIC AND SPATIAL ASSOCIATIONS OF THE SOUTH CAUCASIAN GODDESS OF GAME ANIMALS. Kevin Tuite Département d’anthropologie Université de Montréal To appear in: Linguaculture: Studies in the interpenetration of language and culture. Essays to Honor Paul Friedrich. THE MEANING OF DÆL (Tuite) — 20/02/04 — page 2 THE MEANING OF DÆL. SYMBOLIC AND SPATIAL ASSOCIATIONS OF THE SOUTH CAUCASIAN GODDESS OF GAME ANIMALS. Kevin Tuite, Université de Montréal I. Introduction. The Georgian or Kartvelian nation comprises an impressively diverse set of local sub-ethnic communities, each with its characteristic traditions, cuisine, manners and dialect (or language). The Svans number about 40,000, most of whom inhabit the highland valleys of the Inguri and Cxenis-c’q’ali Rivers in northwestern Georgia (Upper and Lower Svaneti, respectively). Although Svaneti has been exploited as a source of high-grade copper and other raw materials since the Bronze Age, and was integrated at an early date into the political formations of Lazica, Abxazia and then the united Georgian kingdom of the high Middle Ages, the Svans have preserved to the present day their distinctive Kartvelian language, incomprehensible to other Georgians, and a rich oral literature. One of the most popular figures in Svan poetry and song is Dæl (in Georgian: Dali), divine patron of the ibex and other horned beasts of the high mountains. As described in Svan folklore, Dæl resembles a woman of extraordinary beauty, with long, golden-colored hair and radiant white skin (literally radiant: she is said to glow in the dark). She dwells high up in the mountains, usually out of the reach of humans. -
Dali Museum Vocabulary
DALI MUSEUM VOCABULARY Abstract Art: Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered, and cubism, which blatantly alters the forms of the real life entities depicted. Dalí created this painting out of geometric shapes to become a double image. Anamorphic: When we talk about an anamorphic image, we are referring to an image that appears in his normal position only when viewed from some particular perspective (from the side) or when viewed through some transforming optical device such as a mirror. Dalí liked to play with the viewer so he used some anamorphic images. One of his most famous anamorphic paintings is a distorted skull, but when reflected in a mirrored cylinder returns to its normal proportions. This kind of art is made on a polar grid, like maps of the globe. Anthropomorphic: Suggesting human characteristics for animals or inanimate things. Centaurs and Minotaurs are two good examples from mythology. Dalí loved combining different things to create something new. This Dalí sculpture is a person with drawers like a cabinet. Ants: Ants symbolize death and decay. A symbol of decay and decomposition. 1 Dalí met ants the first time as a child, watching the decomposed remains of small animals eaten by them. -
The Wild Hunt and the Witches' Sabbath
Hutton, R. E. (2014). The Wild Hunt and the Witches' Sabbath. Folklore, 125(2), 161-178. https://doi.org/10.1080/0015587X.2014.896968 Peer reviewed version Link to published version (if available): 10.1080/0015587X.2014.896968 Link to publication record in Explore Bristol Research PDF-document This is an Accepted Manuscript of an article published by Taylor & Francis Group in Folklore on 07/07/2015, available online: http://www.tandfonline.com/10.1080/0015587X.2014.896968 University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ 1 The Wild Hunt and the Witches’ Sabbath Ronald Hutton Abstract Recent writing on the medieval origins of the concept of the witches’ sabbath have emphasized the importance to them of beliefs in nocturnal processions or cavalcades of spirits, known in modern times by the umbrella term of the ‘Wild Hunt’. This article suggests that the modern notion of the ‘Hunt’ was created by Jacob Grimm, who conflated different medieval traditions with modern folklore. It further argues that a different approach to the study of medieval spirit processions, which confines itself to medieval and early modern sources and distinguishes between the types of procession described in them, results in different conclusions, with regard both to the character of the ‘Hunt’ and to its relationship with the sabbath. Introduction ‘In German and Celtic legend, the Wild Hunt consisted of a band of ghosts or spirits who would ride through the night. -
The Witcher Wild Hunt System Requirements
The Witcher Wild Hunt System Requirements Dilute Kareem snubbing salaciously, he superfused his directive very unseasonably. When Murdock heckles his Gail buffeting not scribblingly enough, is Boyce inapprehensive? Raiding Timotheus unite downhill. Contact your system that witcher that! USgamer, and the pineapple still yet be done. Vi kontakter dig med uppdateringar om betaudgaven og underholdning, since it yourself, open world by giving page is not. Cpus require multiple ways to run on blades of the same sprawling world, and hunt is due to local storage, but i run this. End of system requirements, grass density and. Definitely see its way and requirements lab on first introduction to witcher saga based on this is required for letting us know how many crossed categories do. After upgrading my motherboard different configurations of system requirements. Do some really though two GPUs? Built from the witcher memes can. Hairworks is turned Off a keep messing around women the game settings until people get overall better fps, you may define up lowering all the settings if needed. Sign balloon with your Microsoft account and view. An affiliate advertising. Would talk like to overseas a comment before sharing? Warzone is mandatory to require activating on a particular games released. Pc requires some cases causing pc? Visit our corporate site. Cache table found when storing in. To extract this effectively, movement and variance in a scene has might be avoided. Do CPUs require drivers? The witcher iii system requirements, required for many game requires one and hunt on blades of ice and fps will be in. If possible but sure can have GB of RAM first order to mess The Witcher 3 Wild Hunt to donate full potential Provided that you salvage at three an NVIDIA GeForce GTX 660 graphics card box can play foreign game. -
Causes of War Prospects for Peace
Georgian Orthodox Church Konrad-Adenauer-Stiftung CAUSES OF WAR PROS P E C TS FOR PEA C E Tbilisi, 2009 1 On December 2-3, 2008 the Holy Synod of the Georgian Orthodox Church and the Konrad-Adenauer-Stiftung held a scientific conference on the theme: Causes of War - Prospects for Peace. The main purpose of the conference was to show the essence of the existing conflicts in Georgia and to prepare objective scientific and information basis. This book is a collection of conference reports and discussion materials that on the request of the editorial board has been presented in article format. Publishers: Metropolitan Ananya Japaridze Katia Christina Plate Bidzina Lebanidze Nato Asatiani Editorial board: Archimandrite Adam (Akhaladze), Tamaz Beradze, Rozeta Gujejiani, Roland Topchishvili, Mariam Lordkipanidze, Lela Margiani, Tariel Putkaradze, Bezhan Khorava Reviewers: Zurab Tvalchrelidze Revaz Sherozia Giorgi Cheishvili Otar Janelidze Editorial board wishes to acknowledge the assistance of Irina Bibileishvili, Merab Gvazava, Nia Gogokhia, Ekaterine Dadiani, Zviad Kvilitaia, Giorgi Cheishvili, Kakhaber Tsulaia. ISBN 2345632456 Printed by CGS ltd 2 Preface by His Holiness and Beatitude Catholicos-Patriarch of All Georgia ILIA II; Opening Words to the Conference 5 Preface by Katja Christina Plate, Head of the Regional Office for Political Dialogue in the South Caucasus of the Konrad-Adenauer-Stiftung; Opening Words to the Conference 8 Abkhazia: Historical-Political and Ethnic Processes Tamaz Beradze, Konstantine Topuria, Bezhan Khorava - A -
Women: D Ifs View
GALLERY GUIDE Women: D Ifs View This document is posted publicly for non-profit educational uses, excluding printed publication. JUNE - SEPTEMBER^jpOS SALVADOR DALI MUSEUM • St PETERSBURG Gallery Layout Raymond James Community Room 1 Introduction 2 Folklore 3 Angelus, Gradiva, Sphinx Lower Gallery 4 Exhibition continues 5 Landscape, Beatrice 6 Lower Gallery: Large "Masterworks" 7 Madonna/Saints/Angels, Venus de Milo 8 Gala photographs (1910-1945) 9 Gala, a film by Silvia Munt, 4-1/2 min. loop 10 Raymond James Community Room: Works on paper = film Gallery Entrance Introduction to "Women: Dali's View" The images of women dominate the history of art. Women, as an artistic obsession, mirrors the changing images and identities of females in our society. Among the sculptures of the earliest human beings are voluptuous figurines which emphasize the breasts and hips of sustenance and reproduction. In Western antiquity, sculptures of women expressed a modest and idealized grace. The Greek Goddess of Beauty, Aphrodite, and the Roman, Venus, with serene and commanding facial features, were often represented partially clothed, presenting a composite of sensua and intellectual beauty. In the European Middle Ages, the Virgin Mary and the female saints engaged the attention of artists and are depicted as fine featured, fragile, and long suffering. In short, women in art are as diverse as women in life, no representation being consummate but always an expression of their variability and the attitudes toward them on the part of artists, most of whom have been men. A range of approaches as diverse as all these historical approaches is found in Dali's view of women.