History Commons^™

Assur Is King Of Persia: Illustrations Of The Book Of Esther In Some Nineteenth-Century Sources, Steven W. Holloway

Steven W Holloway

The marriage of archaeological referencing and picture Bibles in the nineteenth century resulted in an astonishing variety of guises worn by the court of Ahasuerus in Esther. Following the exhibition of Neo-Assyrian sculpture in the British Museum and the wide circulation of such images in various John Murray publications, British illustrators like Henry Anelay defaulted to Assyrian models for kings and rulers in the Old Testament, including the principal actors in Esther, even though authentic Achaemenid Persian art had been available for illustrative pastiche for decades. This curious adoptive choice echoed British national pride in its splendid British Museum collection …

A ‘New’ Kutir-Nahhunte Ii Text, Steven W. Holloway

Steven W Holloway

No abstract provided.

Stosunki Chrześcijańsko-Żydowskie W History, Pamięci I Sztuce: Europejski Kontekst Dzieł W Katedrze Sandomierskiej [Jewish-Christian Relations In History, Memory, And Art: European Context For The Paintings In The Sandomierz Cathedral], Magda Teter, Urszula Stępień

Magda Teter

[Polish] Obraz Infanticidium wiszący na zachodniej ścianie katedry sandomierskiej i ukazujący sceny rzekomego morderstwa dzieci chrześcijańskich przez Żydów był często przedstawiany w izolacji jako przykład antysemityzmu polskiego oraz stosunków pomiędzy Żydami a Kościołem katolickim. Stał się więc ten obraz swego rodzaju „miejscem pamięci” (lieu de mémoire), w którym „skrystalizowana” została także pamięć stosunków chrześcijańsko-żydowskich w Polsce, oraz tym samy źródłem napięć i protestów. Bogato ilustrowana książka pod redakcją Magdy Teter i Urszuli Stępień ma na celu przedstawienie wstępnego zarysu, ułatwiającego zrozumienie sandomierskich obrazów w ich szerszym kontekście artystycznym, historycznym, i historiograficznym, na tle wydarzeń zarówno europejskich, jak i lokalnych.

[English] …

A War Of Worlds: Becoming “Early Modern” And The Challenge Of Comparison, Ayesha Ramachandran

Ayesha Ramachandran

No abstract provided.

Artículo Político Campaña Electoral 2011, Pablo Rosser

pablo rosser

Artículo de opinión del autor, como miembro del PSOE en Alicante.

Revealing Iberian Woodcraft: Conserved Wooden Artefacts From South-East Spain, Pablo Rosser

pablo rosser

Yolanda Carrion & Pablo Rosser Six wells at Tossal de les Basses in Spain captured a large assemblage of Iberian woodworking debris. The authors’ analysis distinguishes a wide variety of boxes, handles, staves, pegs and joinery made in different and appropriate types of wood, some – like cypress – imported from some distance away. We have here a glimpse of a sophisticated and little known industry of the fourth century BC.

The Three-Figured Reliefs: Copies Or Neoattic Creations?, Peter E. Nulton Ph.D.

Peter E. Nulton Ph.D.

The well-known group of four three-figured reliefs, existing in several copies and once assigned to the Altar of Pity in Athens, has always eluded interpretation as a coherent iconographical program. The four scenes depicted are Orpheus and Eurydice, Herakles in the garden of the Hesperides, Herakles with Perithoos and Theseus, and Medea with the Peliads. Though some have questioned the association of the reliefs with the Altar, the conventional dating has not been challenged, in spite of the growing recognition that some of the pieces (most notably the Orpheus relief) are largely unparalleled in the Classical Greek idiom. Careful reexamination …

What Ship Goes There: The Flood Narratives In The Gilgamesh Epic And Genesis Considered In Light Of Ancient Near Eastern Temple Ideology, Steven W. Holloway

Steven W Holloway

Despite efforts made to understand the Mesopotamian and Genesis flood narratives as cosmogonies, the architecture and religious symbolism of the arks remain a scholarly embarrassment. Comparisons of the design of the arks described in Gilgamesh XI and Genesis 6—8 traditionally have focused on the sharp incompatibility of their dimensions. I shall attempt to demonstrate by a close