997 resultados para Rav, active 3rd century.
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Edited by John Mason Good.
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Mode of access: Internet.
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1. Bd. Tristan und Isolde mit Ulrichs von Turheim Fortsetzung.--2. Bd. Heinrichs von Friberg Fortsetzung von Gottfrieds Tristan. Gottfrieds Minnelieder. Die alten französischen, englischen, wallisischen und spanischen Gedichte von Tristan und Isolde.
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Bound with: Ferro, Giovanni Battista, 18th cent. In Jo. Baptistam Zenum S.R.E. cardinalem anniversaria funebris .... Venetiis : [s.n, 1778?].
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Mode of access: Internet.
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“Globalizing the Sculptural Landscape of Isis and Sarapis Cults in Roman Greece,” asks questions of cross-cultural exchange and viewership of sculptural assemblages set up in sanctuaries to the Egyptian gods. Focusing on cognitive dissonance, cultural imagining, and manipulations of time and space, I theorize ancient globalization as a set of loosely related processes that shifted a community's connections with place. My case studies range from the 3rd century BCE to the 2nd century CE, including sanctuaries at Rhodes, Thessaloniki, Dion, Marathon, Gortyna, and Delos. At these sites, devotees combined mainstream Greco-Roman sculptures, Egyptian imports, and locally produced imitations of Egyptian artifacts. In the last case, local sculptors represented Egyptian subjects with Greco-Roman naturalistic styles, creating an exoticized visual ideal that had both local and global resonance. My dissertation argues that the sculptural assemblages set up in Egyptian sanctuaries allowed each community to construct complex narratives about the nature of the Egyptian gods. Further, these images participated in a form of globalization that motivated local communities to adopt foreign gods and reinterpret them to suit local needs.
I begin my dissertation by examining how Isis and Sarapis were represented in Greece. My first chapter focuses on single statues of Egyptian gods, describing their iconographies and stylistic tendencies through examples from Corinth and Gortyna. By comparing Greek examples with images of Sarapis, Isis, and Harpokrates from around the Mediterranean, I demonstrate that Greek communities relied on globally available visual tropes rather than creating site or region-specific interpretations. In the next section, I examine what other sources viewers drew upon to inform their experiences of Egyptian sculpture. In Chapter 3, I survey the textual evidence for Isiac cult practice in Greece as a way to reconstruct devotees’ expectations of sculptures in sanctuary contexts. At the core of this analysis are Apuleius’ Metamorphoses and Plutarch’s De Iside et Osiride, which offer a Greek perspective on the cult’s theology. These literary works rely on a tradition of aretalogical inscriptions—long hymns produced from roughly the late 4th century B.C.E. into the 4th century C.E. that describe the expansive syncretistic powers of Isis, Sarapis, and Harpokrates. This chapter argues that the textual evidence suggests that devotees may have expected their images to be especially miraculous and likely to intervene on their behalf, particularly when involved in ritual activity inside the sanctuary.
In the final two chapters, I consider sculptural programs and ritual activity in concert with sanctuary architecture. My fourth chapter focuses on sanctuaries where large amounts of sculpture were found in underground water crypts: Thessaloniki and Rhodes. These groups of statues can be connected to a particular sanctuary space, but their precise display contexts are not known. By reading these images together, I argue that local communities used these globally available images to construct new interpretations of these gods, ones that explored the complex intersections of Egyptian, Greek, and Roman identities in a globalized Mediterranean. My final chapter explores the Egyptian sanctuary at Marathon, a site where exceptional preservation allows us to study how viewers would have experienced images in architectural space. Using the Isiac visuality established in Chapter 3, I reconstruct the viewer's experience, arguing that the patron, Herodes Atticus, intended his viewer to inform his experience with the complex theology of Middle Platonism and prevailing elite attitudes about Roman imperialism.
Throughout my dissertation, I diverge from traditional approaches to culture change that center on the concepts of Romanization and identity. In order to access local experiences of globalization, I examine viewership on a micro-scale. I argue that viewers brought their concerns about culture change into dialogue with elements of cult, social status, art, and text to create new interpretations of Roman sculpture sensitive to the challenges of a highly connected Mediterranean world. In turn, these transcultural perspectives motivated Isiac devotees to create assemblages that combined elements from multiple cultures. These expansive attitudes also inspired Isiac devotees to commission exoticized images that brought together disparate cultures and styles in an eclectic manner that mirrored the haphazard way that travel brought change to the Mediterranean world. My dissertation thus offers a more theoretically rigorous way of modeling culture change in antiquity that recognizes local communities’ agency in producing their cultural landscapes, reconciling some of the problems of scale that have plagued earlier approaches to provincial Roman art.
These case studies demonstrate that cultural anxieties played a key role in how viewers experienced artistic imagery in the Hellenistic and Roman Mediterranean. This dissertation thus offers a new component in our understanding of ancient visuality, and, in turn, a better way to analyze how local communities dealt with the rise of connectivity and globalization.
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Squeeze
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General-content double-line street map of Brooklyn city (Kings County, N.Y.) showing municipal ward numbers and horsecar lines.
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General-content double-line street map of Brooklyn city (Kings County, N.Y.) showing municipal ward numbers and horsecar lines.
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Covers part of Harrison County (W.Va.)
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The first mechanical Automaton concept was found in a Chinese text written in the 3rd century BC, while Computer Vision was born in the late 1960s. Therefore, visual perception applied to machines (i.e. the Machine Vision) is a young and exciting alliance. When robots came in, the new field of Robotic Vision was born, and these terms began to be erroneously interchanged. In short, we can say that Machine Vision is an engineering domain, which concern the industrial use of Vision. The Robotic Vision, instead, is a research field that tries to incorporate robotics aspects in computer vision algorithms. Visual Servoing, for example, is one of the problems that cannot be solved by computer vision only. Accordingly, a large part of this work deals with boosting popular Computer Vision techniques by exploiting robotics: e.g. the use of kinematics to localize a vision sensor, mounted as the robot end-effector. The remainder of this work is dedicated to the counterparty, i.e. the use of computer vision to solve real robotic problems like grasping objects or navigate avoiding obstacles. Will be presented a brief survey about mapping data structures most widely used in robotics along with SkiMap, a novel sparse data structure created both for robotic mapping and as a general purpose 3D spatial index. Thus, several approaches to implement Object Detection and Manipulation, by exploiting the aforementioned mapping strategies, will be proposed, along with a completely new Machine Teaching facility in order to simply the training procedure of modern Deep Learning networks.
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The present work aims at reconstructing the archaeological contexts and analyzing the material culture of the site of Europos. This archaeological site is located in southern Turkey, at the border with Syria, along the right shore of the Euphrates River. The Classical city rose above the remains of the Hittite Karkemish. The present work collects the results of the archaeological expeditions launched by the British Museum in the late 19th and early 20th century, never published, and the ones of the new Turco-Italian Joint Expedition, started in 2011. Europos had an uninterrupted life from the 3rd century BC to the 10th century AD, throughout the Hellenistic, Roman and Byzantine periods, all examined in the present work.
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Prosodic /template Morphology, that "draws heavily on the theoretical apparatus and formalisms of the generative phonology model known as autosegmental phonology" (Katamba, F. 1993: 154), is the best analysis that can handle Arabic morphology. Verbs in Arabic are represented on three independent tiers: root tier, the skeletal tier and the vocalic melody tier (Katamba, F. 1993). Vowel morphemes, which are represented by diacritics, are inserted within the consonant morphemes, which are represented by primary symbols, to form words. The morpheme tier hypothesis paves the way to understand the nonconcatenative Arabic morphology. This paper analyzes gender in perfect active and passive 3rd person singular verbs on the basis of PM. The focus of the analysis shall be drawn heavily on the most common Arabic verbs; triconsonantal verbs, with brief introduction of the less common verbs; quadriconsonantal perfect active and passive masculine and feminine 3rd person singular verbs. I shall, too, cast the light on some vowel changes that some verbs undergo when voice changes.
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"Sale number twenty-two."