Alimentation Et Identité(S)

Total Page:16

File Type:pdf, Size:1020Kb

Alimentation Et Identité(S) Kentron Revue pluridisciplinaire du monde antique 35 | 2019 Alimentation et identité(s) Édition électronique URL : http://journals.openedition.org/kentron/3197 DOI : 10.4000/kentron.3197 ISSN : 2264-1459 Éditeur Presses universitaires de Caen Édition imprimée Date de publication : 20 décembre 2019 ISBN : 978-2-84133-958-7 ISSN : 0765-0590 Référence électronique Kentron, 35 | 2019, « Alimentation et identité(s) » [En ligne], mis en ligne le 20 décembre 2019, consulté le 10 décembre 2020. URL : http://journals.openedition.org/kentron/3197 ; DOI : https://doi.org/ 10.4000/kentron.3197 Kentron is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 International License. KENTRON revue pluridisciplinaire du monde antique Tous droits de traduction, d’adaptation et de reproduction, sous quelque forme que ce soit, réservés pour tous pays. issn : 0765-0590 isbn : 978-2-84133-958-7 © Presses universitaires de Caen, 2020 14032 Caen Cedex - France KENTRON revue pluridisciplinaire du monde antique Volume 35 2019 Université de Caen Normandie Directrices : Caroline Blonce et Typhaine Haziza. Comité scientifique : Eugenio Amato (Université de Nantes) ; Richard Bodéüs (Université de Montréal) ; Luc Brisson (CNRS, UPR 76, Villejuif) ; David Konstan (Brown University, USA) ; Diego Lanza (Università degli Studi di Pavia) ; Carlos Lévy (Université Paris IV) ; Françoise Ruzé (Université de Caen Normandie) ; John Scheid (Collège de France) ; Aldo Setaioli (Università degli Studi di Perugia). Comité de lecture : Caroline Blonce ; Jean-Baptiste Bonnard ; Gabriel de Bruyn ; Christine Delaplace ; Olivier Desbordes ; Christine Dumas-Reungoat ; Typhaine Haziza ; Luciana Romeri. Fondée en 1985 par François Hinard (†), professeur d’histoire romaine, Kentron est une revue pluridisciplinaire qui s’appuie sur une trentaine d’années d’expérience et d’évolutions, mais dont l’objectif premier est toujours demeuré le même : la volonté de faire dialoguer des disciplines différentes et d’enrichir l’étude de l’Antiquité en croisant les modes d’approche et en multipliant les perspectives. En 1994, Bernard Deforge, professeur de langue et de littérature grecques, et Jacquy Chemouni, professeur de psychologie clinique et de psychopathologie à l’université de Caen, ont repris la direction de la revue, en insistant plus particulièrement sur la matière mythique et ses interprétations, notamment, mais pas exclusivement, psychanalytiques. Sur le plan éditorial, la revue a aussi connu une évolution notable : éditée d’abord de manière assez artisanale, elle est publiée, depuis 2000, par les Presses universitaires de Caen. En 2008, Pierre Sineux (†), professeur d’histoire grecque, a pris le relais, en renouvelant complètement le conseil scientifique de Kentron et en dotant la revue d’un comité de lecture. Après sa mort prématurée en 2016, Typhaine Haziza et Caroline Blonce, toutes deux maîtres de conférences en histoire ancienne à l’université de Caen Normandie – l’une en histoire du monde grec et de l’Égypte antique, l’autre en histoire romaine –, ont repris le flambeau, animées du même souci de favoriser le croisement des approches de l’Antiquité. C’est ainsi que Kentron, revue pluridisciplinaire du monde antique, annuelle, ouvre toujours ses pages aux littéraires, historiens, philosophes, ethnologues, anthropologues, linguistes, philologues, archéologues… Elle accueille des contributions en langue étrangère (anglais, allemand, espagnol, italien). Chaque volume est constitué d’un dossier thématique, de Varia et de comptes rendus d’ouvrages. Les anciens numéros de la revue (du no 10 au no 15) sont consultables par article et dans leur intégralité sur le site des Presses universitaires de Caen (https://www.unicaen.fr/puc/html/ spip848a.html?rubrique142). Les numéros les plus récents sont disponibles sur OpenEdition Journals (https://journals. openedition.org/kentron/). Appel à contributions (n° 36, 2020) Dossier thématique : La mort, les morts, les pratiques funéraires et l’au-delà dans les mondes anciens La mort et les pratiques funéraires sont au cœur de la vie quotidienne et des préoccupations mémorielles des Anciens. Il y a 35 ans, le colloque organisé à Caen par François Hinard renouvelait nos connaissances sur ce thème grâce aux apports de l’anthropologie historique. Depuis la publication de cette manifestation – La mort, les morts et l’au-delà dans le monde romain (Actes du colloque de Caen, 20-22 novembre 1985), F. Hinard (dir.), Caen, Centre de publications de l’Université de Caen, 1987 – , de nombreux travaux, notamment en archéologie, ont encore fait évoluer nos connaissances et notre approche de la mort dans l’Antiquité. Citons par exemple W. Van Andringa, H. Duday, S. Lepetz et al., Mourir à Pompéi : fouille d’un quartier funéraire de la nécropole romaine de Porta Nocera (2003-2007), Rome, École française de Rome (CEFR ; 468), 2013 ; Constituer la tombe : honorer les défunts en Méditerranée antique (Actes du congrès d’Alexandrie, 30 octobre-1er novembre 2014), M.-D. Nenna, S. Huber, W. Van Andringa (éd.), Alexandrie, Centre d’études Alexandrines, 2018 ; ou encore Rencontre autour de nouvelles approches de l’archéologie funéraire (Actes de la 6e rencontre du Groupement d’anthropologie et d’archéologie funéraire, Paris, Institut national d’histoire de l’art, 4-5 avril 2014), S. De Larminat, R. Corbineau, A. Corrochano, Y. Gleize, J. Soulat (éd.), Reugny, GAAF, 2017. La revue Kentron, dans son volume 36 de 2020, proposera donc des contributions qui, fortes de ces nouvelles données, permettront de dresser un état des lieux de la recherche concernant la mort, les morts, les pratiques funéraires et l’au-delà, dans l’esprit pluridisciplinaire et ouvert à l’ensemble des mondes anciens qui est le sien. Recommandations aux auteurs Les articles en langue étrangère sont acceptés (anglais, allemand, espagnol, italien). Les propositions d’article pour les deux rubriques « Dossier thématique » et « Varia », ainsi que les comptes rendus, sont à adresser, avant le 30 mars 2020, à l’adresse suivante : Typhaine Haziza, co-directrice de la revue Kentron Université de Caen Normandie, Campus 1, Bâtiment N, bureau SB 030 Esplanade de la Paix, 14032 Caen cedex ou à Caroline Blonce, co-directrice de la revue Kentron Université de Caen Normandie, Campus 1, Bâtiment N, bureau SB 029 Esplanade de la Paix, 14032 Caen cedex et en version électronique à [email protected] et [email protected], sous deux formats, PDF et .odt ou .doc. La revue Kentron, dotée d’un Comité de lecture, soumet chaque article envoyé à la rédaction à l’expertise de deux spécialistes, qui rendent un rapport écrit. Deux résumés, un dans la langue de l’article et un second en anglais, ainsi qu’une liste bilingue de mots-clés (10 au maximum) sont demandés. Si les articles comportent des caractères grecs, ils doivent être composés en police unicode. Concernant les références bibliographiques, la revue a retenu le système auteur / date. Les notes figurent en bas de page. Les recommandations aux auteurs sont celles des PUC, consultables sur le site des PUC (http://www.unicaen.fr/services/puc) à la rubrique « Informations aux auteurs ». En ce qui concerne les abréviations, les auteurs se reporteront aux recommandations de la page 9 du volume. Les illustrations devront être fournies au format jpg ou tif, dans une qualité suffisante pour une reproduction à une résolution de 300 dpi, et accompagnées des autorisations de reproduction nécessaires. Composer l’article en Times 12, interligne 1,5. ABRÉVIATIONS En ce qui concerne l’Antiquité, chaque auteur a adopté pour les sources anciennes (auteurs et œuvres) les abréviations en usage dans la communauté scientifique des antiquisants. Les abréviations des revues sont celles de L’Année philologique. Pour les corpus et collections ainsi que les revues non répertoriées dans L’Année philologique, le lecteur se reportera à la liste des abréviations suivante. Cette liste est tirée des Directives pour la préparation des manuscrits des Sources chrétiennes (Paris, Éditions du Cerf, 2001), et complétée. Liste de sigles (hors titres de revues listés dans L’Année philologique) AASS : Acta Sanctorum, Bruxelles ACW : Ancient Christian Writers, Westminster (Maryl.). ANRW : Aufstieg und Niedergang der Römischen Welt, Berlin – New York, W. de Gruyter. AT : Ancien Testament. BA : Bible d’Alexandrie, Paris. BAug : Bibliothèque Augustinienne, Paris. BP : Biblia Patristica, Paris. BPatr : Biblioteca Patristica, Florence. BHG : Bibliotheca Hagiographica Graeca, Bruxelles. BHL : Bibliotheca Hagiographica Latina, Bruxelles. BT : Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana, Leipzig, puis Stuttgart, B.G. Teubner, Munich, K.G. Saur, aujourd’hui Berlin, W. de Gruyter. Bull. épigr. : Bulletin épigraphique. CCCM : Corpus Christianorum, Continuatio Mediaeualis, Turnhout. CCSA : Corpus Christianorum, Series Apocryphorum, Turnhout. CCSG : Corpus Christianorum, Series Graeca, Turnhout. CCSL : Corpus Christianorum, Series Latina, Turnhout. CFHB : Corpus Fontium Historiae Byzantinae. CIG : Corpus Inscriptionum Graecarum, Berlin. CIL : Corpus Inscriptionum Latinarum, Berlin. 9 Kentron, no 34 – 2018 CLCLT : Cetedoc Library of Christian Latin Texts (CD-Rom), Louvain-la-Neuve – Turnhout. CPG : Corpus Paroemiographorum Graecorum (Leutsch & Schneidewin 1839-1851), E. L. von Leutsch, F.G. Schneidewin (éd.), Göttingen, Vandenhoeck & Ruprecht, 2 vol. CSEL : Corpus Scriptorum Ecclesiasticorum Latinorum, Vienne, Hölder – Pichler – Tempsky. CSHB : Corpus Scriptorum Historiae
Recommended publications
  • Art List by Year
    ART LIST BY YEAR Page Period Year Title Medium Artist Location 36 Mesopotamia Sumerian 2600 Standard of Ur Inlaid Box British Museum 36 Mesopotamia Sumerian 2600 Stele of the Vultures (Victory Stele of Eannatum) Limestone Louvre 38 Mesopotamia Sumerian 2600 Bull Headed Harp Harp British Museum 39 Mesopotamia Sumerian 2600 Banquet Scene cylinder seal Lapis Lazoli British Museum 40 Mesopotamia Akkadian 2254 Victory Stele of Narum-Sin Sandstone Louvre 42 Mesopotamia Akkadian 2100 Gudea Seated Diorite Louvre 43 Mesopotamia Akkadian 2100 Gudea Standing Calcite Louvre 44 Mesopotamia Babylonian 1780 Stele of Hammurabi Basalt Louvre 45 Mesopotamia Assyrian 1350 Statue of Queen Napir-Asu Bronze Louvre 46 Mesopotamia Assyrian 750 Lamassu (man headed winged bull 13') Limestone Louvre 48 Mesopotamia Assyrian 640 Ashurbanipal hunting lions Relief Gypsum British Museum 65 Egypt Old Kingdom 2500 Seated Scribe Limestone Louvre 75 Egypt New Kingdom 1400 Nebamun hunting fowl Fresco British Museum 75 Egypt New Kingdom 1400 Nebamun funery banquet Fresco British Museum 80 Egypt New Kingdom 1300 Last Judgement of Hunefer Papyrus Scroll British Museum 81 Egypt First Millenium 680 Taharqo as a sphinx (2') Granite British Museum 110 Ancient Greece Orientalizing 625 Corinthian Black Figure Amphora Vase British Museum 111 Ancient Greece Orientalizing 625 Lady of Auxerre (Kore from Crete) Limestone Louvre 121 Ancient Greece Archaic 540 Achilles & Ajax Vase Execias Vatican 122 Ancient Greece Archaic 510 Herakles wrestling Antaios Vase Louvre 133 Ancient Greece High
    [Show full text]
  • The Origins of the Kouros
    THE ORIGINS OF THE KOUROS By REBECCA ANN DUNHAM A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Rebecca Ann Dunham This document is dedicated to my mom. TABLE OF CONTENTS page LIST OF FIGURES ........................................................................................................... vi ABSTRACT.........................................................................................................................x CHAPTER 1 DEFINITION OF THE KOUROS TYPE ....................................................................1 Pose...............................................................................................................................2 Size and material...........................................................................................................2 Nudity ...........................................................................................................................3 Body Shape and Treatment of Musculature .................................................................3 Execution ......................................................................................................................4 Function ........................................................................................................................5 Provenances ..................................................................................................................7
    [Show full text]
  • Two Sample Notes on Lady of Auxerre: One Done Correctly, One Not! Can You Tell?
    Two sample notes on Lady of Auxerre: one done correctly, one not! Can you tell? Ms. Sweeney Period 1 Lady of Auxerre Recent History • discovered in museum storeroom • in Auxerre, central France • early 20th century • currently in the Louvre Origin • Probably from island of Crete o based on limestone it’s made from • Renewal of stone sculpture in Greece in 7th century • Similar to other funerary statues found on Crete o often Archaic sculpture made as funerary sculpture = sculpture used to mark graves o probably placed on a necropolis = ancient cemetery Influences • Looks Egyptian – important source; not naturalistic as later periods • Also see influence of ancient Near Eastern culture o E.g., geometric patterns in sKirt & hair A Closer Look • Only about 2 feet tall • Not naturalistic o Elongated legs & fingers o Disproportion of head to torso and legs • While face is damaged, can recognize sculpture’s Archaic smile o Mouth has slight upturned corners o Appears on faces of most Archaic sculptures § Not only people, but animals as well o Usually found in pieces dating prior to 5th century o Suggests that subject was alive and has a sense of well-being • Use of geometric forms o Series of symbolic forms that represent the hand o Hair bundled up in squares, perhaps braids • Probably once brightly painted • Arms somewhat separated from body o unlike ancient Egyptian art where arms are wedded to body with stone in between • Not proportional: does not correspond in size to a typical body (head, torso, legs don’t match) • While arms are separated, legs are blocK of limestone and not separated at all o A first step towards GreeK sculpture in coming centuries o Sculpture in-the-round = a free-standing sculpture not attached to a flat background o Fully carved from front to bacK Heidi S.
    [Show full text]
  • Geometric & Archaic Greek
    GEOMETRIC & ARCHAIC GREEK GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Can be classified into the following categories: Geometric Period ca. 900-700 B.C.E. Orientalizing Period ca. 725-600 B.C.E. Archaic Period ca. 625-480 B.C.E. --- Greeks defeat Persians 480-479 BCE --- Early Classical Period ca. 480-450 B.C.E. High Classical Period ca. 450-400 B.C.E. Late Classical Period ca. 400-330 B.C.E. Hellenistic Period ca. 330-31 B.C.E. GEOMETRIC & ARCHAIC GREECE Ancient Greek Art Mesopotamian = Worship Egyptian = Afterlife Greek = Humanism GEOMETRIC & ARCHAIC GREECE The Geometric Period The beginning of Greek art is found in painted pottery and small scale sculpture. Artists established different categories of shapes of ceramic vessels- most important was the amphora - two- handled vase used to carry wine and oil Around 800 BC, pottery began to move away from purely non-objective designs - ornamental figures. Dipylon Vase was a grave monument - bottom has holes through which liquid offerings filtered down to the dead below- done in remembrance rather than to appease the soul of the dead. Geometric Krater from the Dyplon Cemetery Athens, Greece, ca. 740 BC GEOMETRIC & ARCHAIC GREECE The Geometric Period The vase functions as a grave marker depicting the funeral procession of an obviously well respected individual. The magnitude of his funeral procession speaks to the wealth and position of the deceased family in the community. Contains no reference to an afterlife The nature of the ornamentation of these early works has led art historians to designate these as GEOMETRIC. (all empty spaces are filled with circles and M-shaped ornament.
    [Show full text]
  • Utilization of Natural Microbial Sources to Improve Quality of Feseekh Produced Under Controlled Conditions Graduation Project P
    GSJ: Volume 8, Issue 8, August 2020 ISSN 2320-9186 926 GSJ: Volume 8, Issue 8, August 2020, Online: ISSN 2320-9186 www.globalscientificjournal.com Utilization of natural microbial sources to improve quality of 1 feseekh produced under controlled conditions 2 3 4 Graduation project provided by 5 6 Hadeel Fareed Al Saied Salem 7 Aml Ezat Abd Al halem Abd Allah 8 Alaa Kamal Abd el Rahman Nafaa 9 10 13 11 14 12 Dean: Vice dean: 15 Prof.Dr Ashraf yousef el dakar Dr.mahmoud ibrahem 16 17 2019/2020 level four 18 GSJ© 2020 www.globalscientificjournal.com GSJ: Volume 8, Issue 8, August 2020 ISSN 2320-9186 927 19 20 Under supervision: 21 Dr. Hesham Fawzy Amin 22 Assistant Professor, Department of Fish Processing 23 Technology, Faculty of Fish Resources, University of Suez 24 25 Prof.Ashraf Yousef El-Dakar 26 Dean of Faculty of Fisheries and Marine Fisheries 27 28 Nadia Saber Ahmed .Prof 29 Professor in National Instituse Oceanography And Fisheries 30 31 GSJ© 2020 www.globalscientificjournal.com GSJ: Volume 8, Issue 8, August 2020 ISSN 2320-9186 928 ABSTRACT… ........................................................................................................ 4 32 INTRODUCTION ................................................................................................ 5 33 Materials and methods… .................................................................................5 34 Materials… ...................................................................................... 5 35 Methods… .......................................................................................
    [Show full text]
  • Chapter 1 Multiple Choice 1. an Important Series of Caves With
    Chapter 1 Multiple Choice 1. An important series of caves with paintings from the Paleolithic period is located in ________. a. Italy b. England c. Germany d. France Answer: d ​ 2. Which of the following describes the Venus of Willendorf? ​ ​ a. It is a large Neolithic tomb figure of a woman b. It is a small Paleolithic engraving of a woman c. It is a large Paleolithic rock­cut relief of a woman d. It is a small Paleolithic figurine of a woman Answer: d ​ 3. Which of the following animals appears less frequently in the Lascaux cave paintings? a. bison b. horse c. bull d. bear Answer: d ​ 4. In style and concept the mural of the Deer Hunt from Çatal Höyük is a world apart from ​ ​ the wall paintings of the Paleolithic period. Which of the following statements best supports this assertion? a. the domesticated animals depicted b. the subject of the hunt itself c. the regular appearance of the human figure and the coherent groupings d. the combination of men and women depicted Answer: c ​ 5. Which of the following works of art was created first? a. Venus of Willendorf b. Animal frieze at Lascaux c. Apollo 11 Cave plaque d. Chauvet Cave Answer: d ​ 6. One of the suggested purposes for the cave paintings at Altamira is thought to have been: a. decoration for the cave b. insurance for the survival of the herd c. the creation myth of the tribal chief d. a record of the previous season’s kills Answer: b ​ 7. The convention of representing animals' horns in twisted perspective in cave paintings or allowing the viewer to see the head in profile and the horns from the front is termed __________.
    [Show full text]
  • Trends in Utilization of Fish and Shellfish
    CHAPTER 19 Trends in Utilization of Fish and Shellfish GEORG BORGSTROM Department of Food Science, Michigan State University, East Lansing, Michigan I. Introduction 638 II. Fish Catch per Capita 639 III. Marine and Fresh-Water Characteristics 644 A. Utilization Pattern 644 B. Comparisons between Relative and Absolute Quantities 645 IV. General Survey of Disposal Channels 649 V. Remote Fishing 654 A. Soviet Expansion 654 B. Japanese Endeavors 655 C. Other Countries 656 VI. Floating Factories 656 A. General 656 B. Freezing Trawlers 658 C. Floating Canneries 659 D. Barges 660 E. Salting Units 660 F. Factory and Motherships in General 661 G. Transporting Vessels 662 H. Fish Meal Factories 662 I. Fishing Vessels 662 VII. Fresh Market Fish 663 A. General 663 B. Utilization Pattern 663 C. Filleting 666 D. Investments 666 E. Miscellaneous 667 VIII. Curing, Smoking, and Drying 668 A. General 668 B. Drying 670 C. Salting 671 D. Smoking 672 E. Specialties 673 IX. Canning 674 X. Freezing 678 XL Industrial Fish Utilization 683 A. Terminology 683 B. Silage . 683 C. Meal 684 D. Flour 689 XII. Herring, Sardine, and Pilchard 689 637 638 GEORG BORGSTROM XIII. Redfish 691 XIV. Sand Eels 691 XV. Tuna 691 XVI. Shark 694 XVII. Crustaceans 694 A. General 694 B. King Crab 694 C. Rock Lobster 695 D. Shrimp 695 E. Centolla 695 XVIII. Cephalopods 698 XIX. Whale Utilization 698 A. General 700 B. Whale OÜ 700 XX. Special Fish Products 702 XXI. Fish Oils 702 A. Body Oils 704 B. Liver Oils 704 XXII. Factors in Utilization 705 A. Seasonality 705 B.
    [Show full text]
  • Sex in the Ancient World from a to Z the Ancient World from a to Z
    SEX IN THE ANCIENT WORLD FROM A TO Z THE ANCIENT WORLD FROM A TO Z What were the ancient fashions in men’s shoes? How did you cook a tunny or spice a dormouse? What was the daily wage of a Syracusan builder? What did Romans use for contraception? This new Routledge series will provide the answers to such questions, which are often overlooked by standard reference works. Volumes will cover key topics in ancient culture and society—from food, sex and sport to money, dress and domestic life. Each author will be an acknowledged expert in their field, offering readers vivid, immediate and academically sound insights into the fascinating details of daily life in antiquity. The main focus will be on Greece and Rome, though some volumes will also encompass Egypt and the Near East. The series will be suitable both as background for those studying classical subjects and as enjoyable reading for anyone with an interest in the ancient world. Already published: Food in the Ancient World from A to Z Andrew Dalby Sport in the Ancient World from A to Z Mark Golden Sex in the Ancient World from A to Z John G.Younger Forthcoming titles: Birds in the Ancient World from A to Z Geoffrey Arnott Money in the Ancient World from A to Z Andrew Meadows Domestic Life in the Ancient World from A to Z Ruth Westgate and Kate Gilliver Dress in the Ancient World from A to Z Lloyd Llewellyn-Jones et al. SEX IN THE ANCIENT WORLD FROM A TO Z John G.Younger LONDON AND NEW YORK First published 2005 by Routledge 2 Park Square, Milton Park, Abingdon, Oxfordshire, OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave., New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2006.
    [Show full text]
  • Art History Timeline Art Periods Characteristics Chief Artists Historical Events Movements Major Works
    Art History Timeline Art Periods Characteristics Chief Artists Historical Events Movements Major Works Stone Age Cave painting Lascaux Cave Painting 10,000-8,000 BC Ice Age ends (30,000–2500BC) Fertility goddesses Hall of Bulls 8000-2500 BC Stone Age, permanent settlements Paleo/Meso/ Megalithic structures Venus of Willendorf 3000-2200 BC Stonehenge Neolithic Mesopotamian Warrior art Akkadian Ruler 3400 BC Sumerians invent cuneiform writing (3500–539 BC) Narration in stone relief Ishtar Gate 2332-2150 BC Akkadians assumed divine attributes Citadels 2000 BC Abraham founds monotheism Persia Ziggurats Standard of Ur 2600 (BM) 1780 BC Hammurabi writes his law code Babylon Fertile crescent Stele of Vultures 2600 (L) 1496 BC Ten Commandments Mt. Sinai Turkey Votive Statuettes Bull Harp 2600 (BM) 1020-930 BC Kingdom of Israel (United) Iraq Gods & Goddesses Victory Stele Naram-Sin 2254(L) 980 BC Iliad and the Odyssey Iran Cradle of civilization Gudea 2100(L) 653 BC Rise of Persian Empire Syria Cuneiforms Stele of Hammurabi 1780(L) 586 BC First Temple (Solomon) in Jerusalem destroyed by Babylonians Registers Statue Queen Napir-Asu 1350(L) 539 BC Fall of Babylonian Empire –Jews Freed Seals Lamassu 750(L) Ashurbanipal Hunting Lions 640(BM) Persepolis 521-465 BC Egyptian Afterlife focus Palette of King Narmer 3100 BC King Narmer unites Upper/Lower Egypt (3500-30 BC) Pyramids Imhotep Hatshepsut 3100 BC First Dynasty of Egypt Tomb painting Ahmen Re of Karnak 3000 BC Papyrus by Egyptians Predynastic Great Pyramids Bust of Nefertiti 2700 BC Old Kingdom
    [Show full text]
  • Visiter Le Louvre
    catalogue 2014 Musée du Louvre éditions Fidèles à leur mission de service public, les éditions du musée du Louvre participent depuis 1988 à l’une des vocations principales du musée, la diffusion de la connaissance de ses collections, patrimoine universel qui couvre huit mille ans d’histoire. Leur catalogue exhaustif compte aujourd’hui près de huit cents titres, auxquels s’ajoute depuis 2007 Grande Galerie, le Journal du Louvre, magazine d’actualité du musée. Les publications très diversifiées du musée du Louvre – guides, albums, ouvrages scientifiques, ouvrages pour la jeunesse, publications pédagogiques, catalogues d’exposition, etc. – s’adressent à des publics variés : visiteurs français ou étrangers, érudits, jeunes, enseignants, étudiants, artistes, amateurs d’art… Cette diversité se traduit également par le grand nombre de partenaires coéditeurs puisque, par principe, les éditions du musée du Louvre ont choisi de s’associer à d’autres éditeurs. Les prix annoncés dans ce catalogue s’entendent pour les versions en français. _SOMMAIRE VISITER LE LOUVRE PUBLICATIONS 5 NOUVEAUTÉS SCIENTIFIQUES 6 DÉCOUVRIR LE LOUVRE, GUIDES 131 NOUVEAUTÉS 12 L’HISTOIRE DU PALAIS 132 THÉORIE DE L’HISTOIRE DE L’ART, MUSÉOLOGIE 18 ORIENT ANCIEN 140 ANTIQUITÉS ORIENTALES 19 ÉGYPTE ANCIENNE 144 ANTIQUITÉS ÉGYPTIENNES 22 ANTIQUITÉS GRECQUES, ÉTRUSQUES 149 RÉCOLEMENT ET ROMAINES 150 ANTIQUITÉS GRECQUES, ÉTRUSQUES ET ROMAINES 26 MOYEN ÂGE 153 SCULPTURES 28 PEINTURES 155 HISTOIRE DES COLLECTIONS 32 SCULPTURES 156 OBJETS D’ART 33 ISLAM / OriENT ROMAin ET BYZANTin 158
    [Show full text]
  • (~4 ½” High, Limestone) [Fertility Statue] MESOPOTAMIA Sumerian: Female Head from Uruk, (Goddess Inanna?) (C
    ART HISTORY The Human 1 Figure throughout The Ages Paleolithic: Venus of Willendorf; Willendorf, Austria (c. 28,000 – 25,000 BC) (~4 ½” high, limestone) [fertility statue] MESOPOTAMIA Sumerian: Female Head from Uruk, (goddess Inanna?) (c. 3,200 – 3,000 BC) [Marble, Sculpture] (stolen from Baghdad Museum – found in someone’s back yard) Akkadian: Head of an Akkadian Ruler, from Nineveh, (c. 2,250 – 2,200 BC) [Bronze, Sculpture] Babylonian: Stele of Hammurabi, (c. 1,780 BC), Present day Iran [Babylonian Civic Code Marker] (basalt) Hammurabi: (1,792 – 1,750 BC) Babylon’s strongest king: centralized power in Mesopotamia Sumerian: Statuettes of Abu, from the Temple at Tell Asmar (c. 2,700 BC) Imagery: Abstraction, Realism Detail: Worshippers, (gypsum inlay with shell and black limestone) [Iraq Museum] Symbolism: The Four Evangelists Matthew John attribute: attribute: winged human eagle symbolizes: symbolizes: humanity, reason sky, heavens, spirit Mark attribute: Luke winged lion attribute: winged ox symbolizes: royalty, courage, symbolizes9: resurrection sacrifice, strength Assyrian: Lamassu, (winged, human-headed bull -citadel of Sargon II) (c. 720 - 705 BC), Present day Iraq (limestone) Assyrian: Ashurbanipal Hunting Lions, (c. 645 - 640 BC), Present day Iraq [Relief sculpture from the North Palace of Ashurbanipal] (gypsum) EGYPT front back Ancient Egyptian (Early Dynasty): Palette of King Narmer, (c. 3,000 - 2920 BC), (~2’ 1” high) [Egyptian eye makeup palette] (slate) Explanation of Palette of King Narmer The earliest example of the Egyptian style, which is called "Frontalism", can be seen in the Palette of Narmer which is considered to be an early blueprint of the formula of figure representation that was to rule Egyptian art for 3,000 years.The Palette of Narmer was originally used as a tablet to prepare eye makeup for protecting the eyes against sun glare and irritation.
    [Show full text]
  • Omslag Report V2
    The aflatoxin situation in Africa Systematic literature review RIKILT report 2018.010 The aflatoxin situation in Africa Systematic literature review Nathan Meijer 1, Gijs Kleter 1, Rosa Amalia Safitri 1, Monique de Nijs 1, Marie-Luise Rau 2, Ria Derkx 3, Joke Webbink 3, Marijn Post 3, Yuca Waarts 2, Ine van der Fels-Klerx 1 1 RIKILT Wageningen University & Research 2 Wageningen Economic Research 3 Wageningen University & Research - Library This research has been carried out by Wageningen University & Research and financed by Partnership for Aflatoxin Control in Africa (PACA) through funds made available to PACA by the Bill and Melinda Gates Foundation and Mars, Incorporated (project number 1277360301). PACA acknowledges the contribution of the Technical Centre for Agricultural and Rural Cooperation (CTA) in producing this report which is a follow up to the CTA/PACA 2016 Working Paper “Improving the evidence base on aflatoxin contamination and exposure in Africa” written by Sheila Okoth. Wageningen, December 2018 RIKILT report 2018.010 RIKILT report 2018.010 | 1 Project number: 1277360301 Project title: The aflatoxin situation in Africa Project leader: Nathan Meijer © 2018 African Union Commission / PACA. This study was financed by Partnership for Aflatoxin Control in Africa (PACA) through funds made available to PACA by the Bill and Melinda Gates Foundation and Mars, Incorporated. PACA acknowledges the contribution of the Technical Centre for Agricultural and Rural Cooperation (CTA) in producing this report which is a follow up to the CTA/PACA 2016 Working Paper “Improving the evidence base on aflatoxin contamination and exposure in Africa” written by Sheila Okoth. This report is published by RIKILT Wageningen University & Research, institute within the legal entity Wageningen Research Foundation with the copyright holder’s permission.
    [Show full text]