983 resultados para Akhenaton, King of Egypt


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Mode of access: Internet.

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Mode of access: Internet.

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This paper argues in detail for the identification of Peftjauawybast, King of Nen-nesut (fl. 728/720 BC ), with Peftjauawybast, High Priest of Ptah in Memphis (fl. c. 790–780 BC2), known from the Apis stela of year 28 of Shoshenq III. This identification ties in with a significant lowering of the accepted dates for the kings from Shoshenq III, Osorkon III and Takeloth III to Shoshenq V, and the material culture associated with them. Such a shift seems to be supported by stylistic and genealogical evidence. As a consequence, it is further suggested that the Master of Shipping at Nen-nesut, Pediese i, was perhaps related by descent and marriage to the family of the High Priests of Memphis and King Peftjauawybast.

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Contains the text originally published in 3 vols.: 1. The dawn of civilization: Egypt and Chaldaea; 2. The struggle of the nations: Egypt, Syria and Assyria; 3. The passing of the empires, 850 B.C. to 330 B.C.

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Includes bibliographical references (p. 89-93).

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In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.

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UANL

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The Ivory-billed Woodpecker has long held a special place in the psyche of North American conservation, eliciting unusually colorful prose, even from scientists, as an icon of the wild. The reverence in which it was held did little to slow the habitat loss that led to its apparent extinction 60 years ago. A consequence of the emotion and attention associated with the amazing rediscovery of this species is that conservation biologists will be under considerable pressure to make good on this “second chance.” This poses a challenge to conservation paradigms that has important political consequences. First, the decline of the species is due to habitat loss, recovery from which has been much more seldom achieved than recovery from declines due to impacts on vital rates. This challenge is exacerbated by the enormous area requirements of the species. Second, the species at best exists as a critically small population. It will be difficult to make the case that a viable population can be established without undermining the small population paradigm that underlies conservation strategies for many other species. This has already resulted in some political backlash. Conservation of this species is best based on the one point of clear scientific consensus, that habitat is limiting, but this may result in additional political backlash because of conflicts with other land uses.