Miscellanea Epigraphica Nubica V: The Names of the Four Creatures of the Apocalypse in Christian Nubia

The fifth paper in the series brings the focus onto the inscriptions accompanying the famous wall paintings from Christian Nubia, more particularly the legends naming the Four Creatures of the Apocalypse. The identification of a very probable source of inspiration for the particular names used in Nubia turns the attention to the ritual power of such names and the role of orality in the transmission of such textual traditions.

Metro Pictures Corporation offers Vicente Blasco Ibáñez' "The four horsemen of the Apocalypse" [Texto impreso]

Tít. tomado de la cub.

The Four Horsemen, from the Apocalypse series

Albrecht Dürer; 1 ft. 3 9/32 in.x 11 29/64 in.; woodcut

Four models of the creative industries

Les activités et industries culturelles sont aujourd’hui englobées dans une nouvelle approche, celle d’industries créatives. Dans ce contexte, les interrogations sur les contributions de la culture au développement économique peuvent être repensées de manière élargie. La contribution examine les différentes réponses possibles à cette question, et quatre modèles sont ainsi distingués: l’approche du bien être; l’approche concurrentielle; l’approche de la croissance; l’approche de l’innovation. A chacun de ces modèles correspond une interprétation du lien entre activités créatives et économie. Ce sont ces interprétations dont la pertinence est appréciée à l’aide de données statistiques simples.

Writing fashion’s future: the gods and monsters of the Anthropocene

This paper identifies two narratives of the Anthropocene and explores how they play out in the realm of future-looking fashion production. Each narrative draws on mythic comparisons to gods and monsters to express humanity’s dilemmas, albeit from different perspectives. The first is a Malthusian narrative of collapse and scarcity, brought about by the monstrous, unstoppable nature of human technology set loose on the natural world. In this vein, philosopher Slavoj Zizek (2010) draws on Biblical analogies, likening ecological crisis to one of the four horsemen of the apocalypse. To find a myth to suit the present times, novelist A.S Byatt (2011) proposes Ragnarök, a Norse myth in which the gods destroy themselves. In contrast, the second narrative is one of technological cornucopia. Stewart Brand (2009, 27), self-described ‘eco-pragmatist’ writes, ‘we are as gods and we have to get good at it’. In his view, human technologies offer the only hope to mitigating the problems caused by human technology – Brand suggests harnessing nuclear power, bioengineering of crops and the geoengineering of the planet as the way forward. Similarly, the French philosopher Bruno Latour (2012, 274), exhorts us to “love our monsters”, likening our technologies to Doctor Frankenstein’s monster – set loose upon the world, and then reviled by his creator. For both Brand and Latour, human technology may be monstrous, but it must also be turned toward solutions. Within this schema, hopeful visions of the future of fashion are similarly divided. In the techno-enabled cornucopian future, the fashion industry embraces wearable technology, speed and efficiency. Technologies such as waterless dyeing, 3D printing and self-cleaning garments shift fashion into a new era of cleaner production. Meanwhile, in the narrative of scarcity, a more cautious approach sees fashion return to a new localism and valuing of the hand-made in a time of shrinking resources. Through discussion of future-looking fashion designers, brands, and activists, this paper explores how they may align along a spectrum to one of these two grand narratives of the future. The paper will discuss how these narratives may unconsciously shape the perspective of both producers and users around the fashion of today and the fashion of tomorrow. This paper poses the question: what stories can be written for fashion’s future in the Anthropocene, and are they fated, or can they be re-written?

Cytogenetics, morphology and evolution of four subspecies of the Giant Sheep argali (Ovis ammon) of Asia

Dalai-lamae (Ovis ammon dalai-lamae), Gobi (O. a. darwini), Kara Tau (O. a. nigrimontana) and Tibetan (O. a. hodgsoni) argali share a 2n = 56 diploid chromosome number and a karyotype consisting of 2 pairs of biarmed and 25 pairs of acrocentric autosomes, a large acrocentric X and a minute Y chromosome. The Giemsa-banding patterns of the largest pair of biarmed chromosomes were identical to those of the largest biarmed chromosomes in all wild sheep and domestic sheep of the genus Ovis. The banding patterns of the second pair of biarmed chromosomes (metacentric) were identical to the third pair of biarmed chromosomes in Ovis with 2n = 54 and to the third largest pair of chromosomes in the 2n = 52 karyotype of Siberian snow sheep (O. nivicola). The G-banded karyotypes of dalai-lamae, darwini, hodgsoni and nigrimontana are consistent with all subspecies of argali (O. ammon), except that the Y chromosome is acrocentric instead of metacentric as typical of the argaliform wild sheep and Ovis. The Dalai-lamae and Tibetan argali specimens exhibit the light-colored, long-haired ruffs and body coloration typical of argalis from the Tibetan Plateau. The Gobi argali, from the extreme western Gobi, is similar to the dark phase argali.

The Four Branches of the Mabinogi and Medieval Welsh Poetry

Hughes, I. (2006). The Four Branches of the Mabinogi and Medieval Welsh Poetry. Studi Celtici. 4, pp.155-193. RAE2008