144 resultados para Herodian Dynasty
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Papyrus, Egypt, New Kingdom; H: 1 ft. 5 23/32 in.; painted papyrus
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Ju Shanghai Han fen lou cang Jiajing zhong kan ben ying yin.
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Mode of access: Internet.
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"A brief view of the Chinese drama, and of their theatrical exhibitions": xlix p.
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On reel 293 beginning frame no. 376.
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Mode of access: Internet.
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Includes index.
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Mode of access: Internet.
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Mode of access: Internet.
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Double leaves, oriental style, in case.
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"Special extra publication of the Egypt exploration fund."
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The presentation of cultural heritage is difficult comprehensive and constantly updated topic. Researchers often focus more on the different techniques to digitize artifacts of cultural heritage. This work focuses on the overall shape and structure of future multimedia application whose specificity is determined by the topic - Odrysian kingdom. Below is presented a concept for structure and content-based information available for individual kings from Odryssae dynasty. Special attention is paid to the presentation of preserved artifacts associated with the reign of specific rulers. The main concept of multimedia application dedicated to the Odrysian kingdom, it is to be used in teaching programs related to cultural heritage and history of antiquity in universities. The aim of designers is that it can be modified easy for use in museums also.
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The report presents the film 10th century. The South of the Royal Palace in Great Preslav. It consists of two parts – 10th century. The Royal Palace in Great Prelsav. The Square with the Pinnacle and The Ruler’s Lodgings. 3D and virtual reconstructions of an architectural ensemble – part of the Preslav Royal Court unearthed during archaeological researches are used in the film. 3D documentaries have already gained popularity around the world and are well received by both scholars and the public at large. One of the distinguished tourist destinations in Bulgaria is Great Preslav – capital of the mediaeval Bulgarian state and a significant cultural center of the European Southeast in 9th–10th centuries, too. The first part of the film is created with the financial support of America for Bulgaria Foundation and the second – with the funding of Bulgarian National Science Fund at the Ministry of Education, Youth and Science. A team of almost 20 members worked on the film, including computer specialists, professional actors, and translators in the four main European languages – English, German, French and Russian, Trima Sound Recording Studio. In the first part of the 3D film are shown a segment of the Royal Palace, the square with the water pinnacle and the adjacent buildings – an important structural element of the town-planning of the Preslav Court center in the 10th century. In the second part the accent is the southern part of the Royal Palace in Great Preslav, where the personal residence of the Preslav ruler’s dynasty is situated. The work on the virtual reconstruction was done by Virtual Archaeology club at the Mathematical School, Shumen. Due to the efforts of its members it is now clear how the square in front of the southern gate looked like.
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This study compares the status of women under the secular government of the Pahlavi Dynasty with the Islamic Republic of Iran. It relies on Hisham Sharabi's theory of neopatriarchal society and Fatima Mernissi's psychological analysis of the dynamics of gender relations in Islam. Both the Pahlavi dynasty and the Islamic regime promoted a perception of women's rights which were conducive to the ideologies of secularism and Islamism. Both regimes, however, worked within the framework of a patriarchal society by instituting policies that were misogynous in nature. This study found that the majority of Iran's female population was not greatly affected by the overthrow of the Pahlavi dynasty and the subsequent implementation of the Islamic regime. The basis of this argument lies in the fact that despite the contrasting ideologies of both governments, where women's issues are concerned, the patriarchal social structure remained virtually intact.
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Depiction of homoerotic relationships among women in commercial costumed films was a unique phenomenon in 1970s - 1980s Hong Kong cinema. What are the possible cinematic meanings of lesbian images that we can perceive in these films? How should we evaluate the exact representation of a sexuality that had been perceived as deviant in that society? In this essay, I close-read homoerotic scenes and trace through the trajectories of cultural and industrial changes enabling the emergence of two representative films: Intimate Confessions of A Chinese Courtesan (1972) and An Amorous Woman of Tang Dynasty (1984). I do this with a continuous concern for historical context in order to provide an in-depth understanding of how lesbian images are constructed in cinema.