Memorandums of a residence in France, in the winter of 1815-16, including remarks on French manners and society, with a description of the catacombs, and notices of some other objects of curiosity and works of art, not hitherto described ...

Mode of access: Internet.

Pompéi, les catacombs, l'Alhambra, étude a l'aide des monuments.

Mode of access: Internet.

The catacombs of Rome:

Mode of access: Internet.

O cristo no terceiro milênio: a visão plástica da arte sacra atual de Cláudio Pastro

Pós-graduação em Artes - IA

Raymundo Moraes na planície do esquecimento

O escritor Raymundo Moraes (1872 - 1941), autor de dezessete trabalhos em que o universo literário é a Amazônia, obteve por seu livro Na Planície Amazônica , dentre outros, o elogio feito por um Presidente da República - Washington Luís - que o utilizou para conhecer a região, e em seguida a obra obteve repercussão nacional com o autor usufruindo de fama e fortuna crítica que depois o levaram, paradoxalmente, a completo esquecimento: não mais se pronunciou seu nome, também impronunciado da Justiça Comum pelo crime imputado - homicídio. Esta dissertação tem por objetivo principal chamar a atenção da comunidade acadêmica e do leitor em geral para a importância da obra literária deste escritor paraense, hoje, desconhecido, autodidata, comandante de navios pelos rios da região, jornalista, político, partícipe de atividades intelectuais de seu tempo, inclusive membro de entidades ligadas às letras. Foi ao pódio literário na década de 1930 e depois baixou às catacumbas do olvido, merecendo ser reapresentado e reconhecido num preito de gratidão e justiça, em decorrência de sua considerável produção a respeito da Amazônia, pois muitas de suas obras, como O meu dicionário de cousas da Amazônia (1931), continuam sendo fonte de investigação imprescindível para os que se dedica[re]m a estudar a respeito da Região Amazônica e sua(s) cultura(s), assim como alimentaram a voracidade antropófaga de Mário de Andrade.

Social Stratification of the Alans of North Caucasus (IV-IX Cents. A.D.)

Dmitry Korobov. Social Stratification of the Alans of the North Caucasus (4th-9th Centuries A.D.) There were two stages to this project: studies of the differences between local groups of catacomb cemeteries in the North Caucasus, and an analysis of social ranks among the Alans on the basis of the large cemeteries. The first stage involved a cluster analysis of 100 cemeteries on the basis of the variables of longitude and latitude, which made it possible to identify 11 local groups of cemeteries. This was followed by a study of the difference between burial rites charcterising flat graves and barrow burials and between catacombs of different periods within these two main groups. Korobov then looked at the difference between the catacombs of various local groups. The second step was an investigation of the social structure of the Alanic tribes. Here Korobov first selected gender-specific grave goods of adult burials on the basis of large cemeteries, and compared single male and female burials on the basis of the associated grave goods. He then used a cluster analysis to draw up a subdivision of male and female burials according to their grave goods, and interpreted the results obtained with the help of ethnographic and written sources.

Atti del martiio di S. Alesandro Primo, e memorie del suo sepolcro della via Nomentana.

Mode of access: Internet.

Altchristliche Malerei und altkirchliche Literatur eine Untersuchung über den biblischen Cyklus der Gemälde in den römischen Katakomben /

German, Greek and Latin.

Forschungen zur Sicilia sotterranea.

Mode of access: Internet.

Le catacombe di Roma /

Includes index.

Del culto dovuto a'SS. MM. cemeteriali e dell'antichità di due antiche lapide cristiane : dissertazioni /

"Indice delle cose notabili contenuti in questi otto tomi del Sacro diario": p. 181-247.

Fractio panis : la plus ancienne représentation du sacrifice eucharistique a la "Capella Greca" ; découverte et expliquée /

Includes bibliographical references and index.

Éléments d'archéologie chrétienne /

At head of title: Horace Marucchi.

Voyage dans les catacombes de Rome /

Mode of access: Internet.

A voice unknown: Undercurrents in Mussorgsky's 'Sunless'

Mussorgsky's Sunless cycle is aesthetically and stylistically an anomalous member of his oeuvre. Its notably effaced, pared-down, and withdrawn qualities present challenges to critical interpretation. Its uniqueness, however, renders it a crucial work for furnishing the fullest possible picture of Mussorgsky as a creative artist. The author of its texts, Golenishchev-Kutuzov (whose relationship with Mussorgsky at the time of its writing possibly extended beyond the platonic) has been identified by recent scholarship as an essential eye-witness for those to whom Stasov's populist characterization of the composer does not ring entirely true. Golenishchev-Kutuzov believed that in Sunless Mussorgsky first revealed his authentic artistic self. According to Golenishchev-Kutuvoz, Mussorgsky regarded his signal achievement in Sunless to have been the eradication of all elements other than feeling. In other words, he had thrown off the stylistic shackles imposed by the aesthetics of realism and relied entirely on intuitive harmonic invention as the sole conveyor of a purely subjective, affective meaning in the cycle. This hypothesis forms the point of departure for an investigation of select numbers of the cycle. Analysis reveals that the affective aspect is riot the only significant element operative. Alongside remnants of the realist style, there is evidence, of varying degrees of subtlety, for a knowing use of symmetrical pitch organization. Mussorgsky not only adapted the usual referential attachments of symmetrically based chromaticism-typically found in Russian operas of the second half of the nineteenth century-he also, through extremely simple but effective means, synthesized the intuitive harmonic and rational symmetrical elements of the cycle's pitch organization so that the latter emerges seamlessly out of the former. This remarkable synthesis ensures the cycle's uniformity of tone while also allowing for a reading that extends beyond the generally affective to the symbolically more specific. This symbolic level of reading offers several interpretative possibilities, one of which may refer even to the relationship of the poet and the composer. Irrespective of such potentials for interpretation, the most significant achievement in the cycle remains the synthesis of the intuitive/affective and rational/symbolic elements of its organization. Songs 1, 2, 3, and 6 of the cycle are considered in detail.