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Relevant bibliographies by topics / Ancient object

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Academic literature on the topic 'Ancient object'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Ancient object"

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Lloyd, James. "Composition, Comparison, and Concept." Greek and Roman Musical Studies 8, no. 2 (August 14, 2020): 323–37. http://dx.doi.org/10.1163/22129758-bja10010.

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Abstract While recent discussions of music archaeology have emphasised the importance of context for the study of the art and archaeology of ancient music, there has not been much theoretical engagement with the objects themselves. This paper takes recent arguments concerning two objects identified as strobiloi to propose an object-based framework for the study of ancient art and archaeology in relation to ancient music. Contexts are not infallible. Being mindful of composition, comparisons, and concepts (the three core elements of the proposed framework), I argue that there is, as yet, no certain artistic or archaeological evidence for interpreting objects identified as strobiloi as musical devices, and that the Asteas Phrynis vase cannot be used as a reliable source for organological detail.

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Keller, Vera. "Storied Objects, Scientific Objects, and Renaissance Experiment: The Case of Malleable Glass." Renaissance Quarterly 70, no. 2 (2017): 594–632. http://dx.doi.org/10.1086/693182.

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AbstractThe career of storied objects can help highlight the agency of absence and historicize the notion of scientific objects more generally. Until the sixteenth century, lost, ancient flexible glass was studied separately from malleable glass. The latter appeared as a claimed chymical product and craft recipe. The bridging of social and epistemic registers merged these accounts. Malleable glass became a prestigious scientific object. Appearing in numerous utopias, it stimulated a participatory public of scientific amateurs. Such storied objects served as vectors for spreading experimental culture, yet declined as new professions emerged. The charisma that made malleable glass a seventeenth-century scientific object led to its rejection by newly professionalized eighteenth-century chemists and its replacement by a less evocative scientific object, “malleability.”

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Tilley, Christopher. "Excavation as theatre." Antiquity 63, no. 239 (June 1989): 275–80. http://dx.doi.org/10.1017/s0003598x00075992.

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Everyone who has dug up anything knows the excitement of bringing an ancient object to its first light for centuries. Everyone who has directed an archaeological excavation knows the excitement of finding sense in the pattern of many ancient objects revealed. Why is it, then, that the publication of that pattern in a site report is a more wearisome business when—if ever—it take place? Is that just the nature of the business, or is there more to be revealed?

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Guha–Thakurta, Tapati. "“For the Greater Glory of Indian Art”: The Life of an Endangered Art Treasure in Modern India." International Journal of Cultural Property 11, no. 1 (January 2002): 1–27. http://dx.doi.org/10.1017/s0940739102771555.

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The essay narrates the biography of a single art object—acclaimed in recent history as a “masterpiece” of ancient Indian sculpture—to invoke the larger spectrum of practices and discourses that came to constitute the field of art history in modern India. It explores the shifting locations and aesthetic trajectories that marked the transformation of this artifact from a curious archaeological “antiquity” into a national “art-treasure” and icon of Indian femininity, and later even into “a travelling emissary of ancient Indian art and culture.” On the one hand, the spectrum of travels of this object provides an ideal instance for mapping over the twentieth century the changing colonial, national and international stature of Indian art. On the other hand, its career also pointedly reveals the clash of contending claims and the politics of “return” and “restitution” that have attended the nationalization and artistic consecration of many such objects.

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Shakhnovich, Mark М., and Marianna A. Kulkova. "Experience in identifying Sami sacred objects in Russian Lapland: “bratya”of the Srednii Peninsula, Murmansk coast of the Barents sea." Transaction Kola Science Centre 11, no. 6-2020 (December 25, 2020): 164–79. http://dx.doi.org/10.37614/2307-5252.2020.6.19.013.

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The article is devoted by field investigations of stone natural object “Bratya”located in the Srednii Peninsula of the Murmansk coast of the Barents Sea which were in 2011. At the first the special study of objects-“sieidas”of theRussian Lapland was carried out in the Murmansk region. The geochemical investigations supported the speculation about some ancient rituals like sacrifices that has been performed around rock pillars. Apparently it was perceived as expressive natural object possessing sacred properties what named in historiography of the Sami ethnography as “sieid”.

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Britto, M. John. "A Thing-Oriented Perspective of Ancient Indian Philosophy." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455–2526) 4, no. 2 (August 22, 2016): 226. http://dx.doi.org/10.21013/jems.v4.n2.p1.

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<em>With the emergence of thing-oriented doctrines in the recent times, there is a gradual shift of attention from human subjects to material objects in the contemporary educational realm. Thing theory and object-oriented ontology, as thing-oriented doctrines, are in equilibrium with their primary concern with things. Both of them are pertinent to each other in multifarious ways. While thing theory is concerned with the significance of things in relation to literature and culture, object-oriented ontology focuses on the centrality of things in philosophy. The study made by thing-oriented scholars divulges that the worth of corporeal things has been overlooked by humans down the ages. However, there are a few instances here and there wherein things were said to gain some attention. This research paper seeks to make a study of how things were understood in the schools of ancient Indian philosophy, and it looks at the views of those schools on things from a thing-oriented perspective. It explores the general philosophy of the Upanishads concerning the reality of things in the world. It also attempts to identify and elucidate the constructive views on things which could be traced in the doctrines of the philosophical schools of the Nyāya, the Vaisheshika, the Sāṃkhya, the Mīmāṃsā and the Cārvāka. These schools’ realist approach to things is contrasted with the monistic idealism of the schools of the Advaita Vedānta and the Yoga. The paper also examines how things are undermined and overmined in ancient Indian philosophy. </em>

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Jackson, Sarah E. "FACING OBJECTS: AN INVESTIGATION OF NON-HUMAN PERSONHOOD IN CLASSIC MAYA CONTEXTS." Ancient Mesoamerica 30, no. 1 (August 7, 2018): 31–44. http://dx.doi.org/10.1017/s0956536118000019.

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AbstractResearch on Classic Maya personhood confirms that personhood was extended to non-human entities; however, questions about its operation and impact remain. What is the nature of the linkage between human beings and object persons, and how does personhood pass between them? What is the impact on an object of becoming personed? I approach these questions through depictions in Classic Maya iconography of faces shown on non-human objects, indicating potential to act in person-like ways. Close examination of “faced” objects reveals that Classic Maya personhood represents a substance that does not require humans as a source, and acts, instead, as an untethered resource accessed by entities able to act in social, relational ways. Furthermore, object personhood represents a state of identity in which essences of persons and objects co-exist, opening possibilities for complicating categories of being in the ancient Maya world.

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Wang, Yiqun. "Bodily Contemplation: On the Question of the Truth of the Perception of Physical Objects in Chinese Landscape Painting." RUDN Journal of Philosophy 25, no. 2 (December 15, 2021): 298–310. http://dx.doi.org/10.22363/2313-2302-2021-25-2-298-310.

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This article analyzes the views of representatives of the scientific community on ancient Chinese landscape painting, emphasis is mainly placed on views that concern the spiritual qualities of landscape painting, as well as rethinking concepts that ignore the significance of sensual perception. Landscape painting is usually considered as a spiritual work of Taoism: landscape painting developed from Taoist thought, Taoist philosophy determined the identity of the artistic style and the inherent spirit of landscape painting. Moreover, some researchers even believe that bodily contemplation of landscape painting means setting the very original nature of mountains and waters, and the "knowledge of the truth" is a spiritual process that is more blocked by the human capacity for sensual perception. Some of the scientists completely deny the possibility and truth of sensual perception of physical objects in landscape painting. The author of this article believes that the spiritual component of landscape painting lurks precisely in the value of sensual perception, and bodily contemplation of mountains and waters is impossible without the participation of the body, clear confirmation of which we find in the ancient Chinese theory of arts. Ancient Chinese works of art traditionally had a close connection with sensual perception through bodily contemplation. This process is not simply about capturing object information, but when the subject takes an active part in the vision of the object, when the subject gives feedback to the object, and through acquiring the object its meaning is transmitted. Only through bodily contemplation, the individual can fully feel the artistic value of landscape painting, and Taoist philosophy thus gains a real existence in landscape painting, becoming a kind of emotional thinking.

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KOLESNIKOV, S. A., and E. E. KOZLOVA. "THE EVOLUTION OF ARCHITECTURAL AND URBAN PLANNING OBJECT IN THE CONTEXT OF THE SPATIAL ORGANIZATION OF THE MASS PERFORMANCES." Urban construction and architecture 3, no. 2 (June 15, 2013): 22–30. http://dx.doi.org/10.17673/vestnik.2013.02.4.

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The article presents the evolution of architectural and urban planning object in the context of the spatial organization of the mass performances. By the architectural and urban object we mean a certain environment or building intended for mass events. The first types of mass performances appeared in ancient Greece. Various forms of mass celebrations existed in ancient Rome, the Middle Ages and the Renaissance, etc. Each type of mass performances had its own certain architectural structure or entertaining area. For example, a gladiatorial combats in ancient Rome were held in the Coliseum, and the medieval carnivals generally took place in town squares and streets.

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Dormidontova, V. V., and K. S. Kasabova. "ON SOME EXAMPLES OF USE ANTIQUE FORMS IN THE CITIES OF THE CAUCASIAN MINERAL WATERS RESORT." Landscape architecture in the globalization era, no. 3 (2020): 13–21. http://dx.doi.org/10.37770/2712-7656-2020-3-13-21.

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Abstract. The appearance of the resort towns of the Caucasian Mineral Waters, formed during the 19th - 20th centuries, was determined by remarkable monuments of architecture and landscape architecture, dating back to the traditions and forms of ancient Greece and Rome. Rational, respectable and aesthetic order forms of Classicism determined its wide typological applicability and during the 19th-20th centuries they continued to form significant urban planning and park ensembles. When creating resort facilities, architectural monuments of antiquity are models for studying, repeating and interpreting the methods of organic inclusion in the natural environment. The article examines the importance of ancient forms in the process of formation of the cities of the Caucasian Mineral Waters resort. A full-scale survey of two objects selected for study, typologically and stylistically different, was carried out – the architectural structure of the mud baths in the city of Essentuki and the monument of landscape art – the park's Main Staircase of the sanatorium named after S. Ordzhonikidze. Literary sources were studied, landscape-visual and compositional analysis of objects was carried out. The first object – a mud bath in the city of Essentuki – a medical building, one of the most famous architectural monuments of the city of the eclectic period, was built according to the project of the architect Eugene Shretter. The second object is the famous Main Staircase of the sanatorium named after S. Ordzhonikidze in the city of Kislovodsk, built by the architect – constructivist Ivan Leonidov, is an object of cultural heritage of federal significance – a monument of urban planning and architecture. The analysis showed that ancient forms successfully pass the test of time, change of political systems and social conditions, are able to transform plastically and functionally under the influence of stylistic changes and today retain their attractiveness and relevance.

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Dissertations / Theses on the topic "Ancient object"

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Flemming, Rebecca Elizabeth. "Woman as an object of medical knowledge in the Roman Empire, from Celsus to Galen." Thesis, University College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268302.

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Crystal, Ian Mark. "Subject and object in intellection as a basis for a theory of self-intellection in Ancient Greek thought." Thesis, King's College London (University of London), 1996. https://kclpure.kcl.ac.uk/portal/en/theses/subject-and-object-in-intellection-as-a-basis-for-a-theory-of-selfintellection-in-ancient-greek-thought(4f4f6b93-dd6f-40e5-8996-e1d02fa86018).html.

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Taylor, Barnaby. "Word and object in Lucretius : Epicurean linguistics in theory and practice." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c0ed507b-6436-4c84-8457-34fa707af79a.

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This thesis combines a philosophical interpretation of Epicurean attitudes to language with literary analysis of the language of DRN. Chapters 1-2 describe Epicurean attitudes to diachronic and synchronic linguistic phenomena. In the first chapter I claim that the Epicurean account of the first stage of the development of language involves pre-rational humans acting under a ‘strong’ form of compulsion. The analogies with which Lucretius describes this process were motivated by a structural similarity between the Epicurean accounts of phylogenetic and ontogenetic psychology. Chapter 2 explores the Epicurean account of word use and recognition, central to which are ‘conceptions’. These are attitudes which express propositions; they are not mental images. Προλήψεις, a special class of conception, are self-evidently true basic beliefs about how objects in the world are categorized which, alongside the non-doxastic criteria of perceptions and feelings, play a foundational role in enquiry. Chapter 3 offers a reconstruction of an Epicurean theory of metaphor. Metaphor, for Epicureans, involves the subordination of additional conceptions to words to create secondary meanings. Secondary meanings are to be understood by referring back to primary meanings. Accordingly, Lucretius’ use of metaphor regularly involves the juxtaposition in the text of primary and secondary uses of terms. An account of conceptual metaphor in DRN is given in which the various conceptual domains from which Lucretius draws his metaphorical language are mapped and explored. Chapter 4 presents a new argument against ‘atomological’ readings of Lucretius’ atoms/letters analogies. Lucretian implicit etymologies involve the illustration, via juxtaposition, of language change across time. This is fully in keeping with the Epicurean account of language development. Chapter 5 describes Lucretius’ reflections on and interactions with the Greek language. I suggest that the study of lexical Hellenisms in DRN must be sensitive to the distinction between lexical borrowing and linguistic code-switching. I then give an account of morphological calquing in the poem, presenting it as a significant but overlooked strategy for Lucretian vocabulary-formation.

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Kim, Ju-Young. "L'objet ancien dans sa forme et son essence : entre passé et modernité, familiarité et étrangeté." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H322.

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Un objet ancien dont on ne se sert plus aujourd’hui continue cependant de vivre dans notre vie contemporaine. Il se présente à nous avec un autre fonctionnement et souvent avec une autre définition : ce n’est plus l’objet utile ni l’outil pratique qu’il a été. Dans cette thèse, la valeur de l’objet ancien est étudiée dans sa dimension immatérielle et spirituelle. Ainsi nous renouvellerons sa définition en réfléchissant sur son essence et sa forme d’un point du vue contemporain. La première partie de cette thèse présente les concepts de la valeur de l’objet ancien de nos jours sous un angle sociologique. Ensuite, nous proposons une approche du concept de l’objet ancien comme une chose mi-humaine mi-objet. Puisqu’un objet ancien d’une autre époque possède toujours en lui cette vie de l’époque révolue, est-ce que cet objet peut vivre comme s’il était une chose animée ? Dans la seconde partie, nous avons recherché quelles caractéristiques pouvaient donner à l’objet ancien cette sensation de vie humaine ? Peut-être tout d’abord les traces des gens qui se sont accumulées sur lui visiblement et invisiblement ? La notion coréenne de « sonté » nous a permis de traduire et d’exprimer ces traces visibles et invisibles sur l’objet ancien. Dans la dernière partie, l’objet ancien est étudié dans le domaine de l’art contemporain. Les artistes contemporains voient l’objet ancien comme un nouvel objet et lui donne une autre forme et une autre essence qui, bien souvent, est une allégorie de la destinée humaine
An ancient object that is no longer in use today continues however to survive in our contemporary life. It is presented to us with another function and often with another definition: it is no longer the useful object nor the practical tool that it used to be. In this dissertation, the value of the ancient object is studied in its immaterial and spiritual dimensions. We will thus renew its definition by reflecting on its essence and form from a contemporary viewpoint. The first part of the dissertation presents the concepts around the value of the ancient object in our time from a sociological angle. Next, we propose an approach to the concept of the ancient object as half-human and half-object. Since an ancient object from another era always keeps within itself its life in the period gone by, could this object exist as if it were an animated entity? In the second part, we have sought what characteristics could offer the ancient object this sensation of human life. Perhaps, first of all, the traces of people that it has accumulated visibly and invisibly? The Korean notion of “sonté” allows us to translate and express these visible and invisible traces on the ancient object. In the last part, the ancient object is studied in the field of contemporary art. Contemporary artists see the ancient object as a new object and give it another form and another essence which often is an allegory of human destiny

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Fechik, Jennifer R. "Interaction in the Symposion: An Experiential Approach to Attic Black-Figured Eye Cups." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363802054.

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Moore, Cathie A. "Eternal Gaze: Third Intermediate Period Non-Royal Female Egyptian Coffins." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1401301633.

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Schuetter, Jared Michael. "Cairn Detection in Southern Arabia Using a Supervised Automatic Detection Algorithm and Multiple Sample Data Spectroscopic Clustering." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269567071.

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Weber, Felicitas. "The Ancient Egyptian Demonology Project." Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-201806.

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“The Ancient Egyptian Demonology Project: Second Millennium BCE” was intended and funded as a three-year project (2013-2016) to explore the world of Ancient Egyptian demons in the 2nd millennium BC. It intends to create a classification and ontology of benevolent and malevolent demons. Whereas ancient Egyptians did not use a specific term denoting “demons”, liminal beings known from various other cultures such as δαίμονες, ghosts, angels, Mischwesen, genies, etc., were nevertheless described in texts and illustrations. The project aims to collect philological, iconographical and archaeological evidence to understand the religious beliefs, practices, interactions and knowledge not only of the ancient Egyptians’ daily life but also their perception of the afterlife. Till today scholars, as well as interested laymen, have had no resource to consult for specific examples of those beings, except for rather general encyclopaedias that include all kinds of divine beings or the Iconography of Deities and Demons (IDD) project that is ongoing. Neither provides, however, a searchable platform for both texts and images. The database created by the Demonology Project: 2K is designed to remedy this gap. The idea is to provide scholars and the public with a database that allows statistical analyses and innovative data visualisation, accessible and augmentable from all over the world to stimulate the dialogue and open communication not only within Egyptology but also with neighbouring disciplines. For the time-span of the three year project a pilot database was planned as a foundation for further data-collection and analysis. The data that were chosen date to the 2nd Millennium BCE and originate from objects of daily life (headrests and ivory wands), as well as from objects related to the afterlife, (coffins and ‘Book of the Dead’ manuscripts). This material, connected by its religious purposes, nevertheless provides a cross-section through ancient Egyptian religious practice. The project is funded by the Leverhulme Trust and includes Kasia Szpakowska (director) who supervises the work of the two participating PhD students in Egyptology. The project does not include funds for computer scientists or specialists in digital humanities. Therefore, the database is designed, developed and input by the members of the team only. The focus of my presentation will be the structure of the database that faces the challenge to include both textual and iconographical evidence. I will explain the organisation of the data, search patterns and the opportunities of their visualisation and possible research outcome. Furthermore, I will discuss the potentials the database already possesses and might generate in the future for scholars and the public likewise. Since the evidence belongs to numerous collections from all over the world, I would like to address the problems of intellectual property and copyright with the solution we pursue for releasing the database for registered usage onto the internet.

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Clo, Magdeleine. "Les objets dans le roman grec." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENL024.

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La lecture de cinq romans grecs conservés, les histoires d'amour et d'aventures qui forment un corpus romanesque homogène (Leucippé et Clitophon d'Achille Tatius, Chéréas et Callirhoé de Chariton, Les Éthiopiques d'Héliodore, Daphnis et Chloé de Longus et Les Éphésiaques de Xénophon d'Éphèse), ne laisse pas présager de l'abondance des objets matériels que l'on peut y trouver. Nous répertorions exactement 710 termes qui désignent 426 objets différents, apparaissant à 4752 reprises dans l'ensemble des œuvres. Nous pouvons organiser ces objets et occurrences dans onze catégories fonctionnelles, qui sont plus ou moins représentées dans les romans : les biens et avoirs, les ustensiles, les armes, le mobilier, les vêtements, les accessoires, les soins corporels, les objets de la scène, les supports de l'écrit, les objets décoratifs et la vaisselle. Cette organisation permet de mieux appréhender l'ensemble des objets du corpus pour révéler l'utilisation littéraire que peuvent en faire les auteurs. En effet, l'objet accompagne avant tout le personnage au cours des péripéties : il est son attribut, l'élément qui permet de l'identifier sans doute possible dans le récit. L'objet donne des informations au lecteur sur l'histoire de ce personnage : témoin des événements qui ont marqué sa vie, il devient alors emblématique de l'individu. Cette relation est resserrée dans le cas des objets de reconnaissance dont font mention les romans de notre corpus. L'objet est signifiant lorsqu'il accompagne les protagonistes et ces derniers peuvent les utiliser pour indiquer leurs intentions ou essayer de les dissimuler. Les personnages tirent profit de l'objet pour le mettre en scène. L'objet leur est un adjuvant essentiel au cours des intrigues. L'objet fait pleinement partie du décor romanesque car il est un élément matériel qui peut être un repère spatial pour les personnages des romans comme pour le lecteur. L'objet, attaché à un lieu, donne également des indications symboliques aux personnages, les aiguillant dans leur voyage dans l'espace méditerranéen. Par conséquent, ces objets peuvent aussi être des obstacles à cette progression. L'objet est un opposant aux personnages, ce qui nourrit les intrigues romanesques. Parmi tous ces objets marqués par l'ambiguïté, le pharmakon se distingue par sa double fonction, déjà présente dans le mot grec, d'adjuvant et d'opposant. Les objets ne sont pas de simples éléments de décor, ils participent pleinement à l'action, au même titre que les personnages. L'objet, lorsqu'il est mentionné, n'est donc jamais anodin. Il peut également être emblématique de la relation entretenue par deux individus : l'objet est le support des relations, et devient symbolique de celles-ci. Effectivement, dans l'objet se cristallisent les sentiments des protagonistes, et l'objet permet leur union, métaphorique, à distance. De nombreux types d'objets participent de cette mise en relation des personnages : les coupes lors des banquets, les lettres échangées, les cadeaux offerts. L'objet est le signe de la relation elle-même. L'objet peut aussi être décoratif et orne dès lors le récit, lorsque les auteurs le mettent en avant dans de longues descriptions, notamment dans de longues ekphraseis qui enrichissent les textes. L'objet n'apparaît parfois pas pour les personnages des romans, néanmoins, il est bien utilisé par les auteurs, notamment pour concrétiser des expressions abstraites : de nombreuses comparaisons et métaphores mentionnent des objets, ce qui « matérialise » le texte. D'ailleurs, c'est dans les discours des personnages que l'objet occupe une place symbolique. Le symbole confère au texte une dimension interprétative qui enrichit encore la lecture des intrigues romanesques. Le discours symbolique éclaire le système des représentations.Ainsi l'objet, support du discours, est capital pour les œuvres romanesques car il permet au texte littéraire de se déployer dans toutes ses dimensions
The five ideal Greek novels, nearly complete (Achilles Tatius' Leucippe and Clitophon, Chariton's Callirhoe, Heliodorus' Aethiopics, Longus' Daphnis and Chloe and Xenophon of Ephesus' An Ephesian Tale) constitute a genre that can fruitfully be studied as a unit. In these novels, the abundance of concrete objects is staggering. 426 distinct objects are described with 710 various lexemes and this group of words occurs 4752 times throughout the corpus under consideration. To organize and better understand the function of these objects and the language used to describe them, they can be meaningfully placed into eleven functional categories: property and assets, utensils, weapons, furniture, clothing, accessories, objects related to personal care, stage props, writing tools, decorative objects, and finally dishes. This organization allows the reader to have a better view of all the objects and enlightens each author's literary uses of them. Indeed, objects accompany characters throughout these narratives, can function as an attribute, that is the object that identifies them without any doubt. An object provides the reader with pertinent information about a character's personal history, since the object witnesses the events that have marked his or her life. The object becomes emblematic of the individuals. In the case of objects of recognition throughout corpus, the relationship between the identity of a character and his or her objects is even tighter. The object is significant when accompanying the protagonists, who can also use them to indicate their intentions or in turn try to hide them. The characters benefit from the object when used to manipulate a narrative situation. They often play the role of an essential tool without which the narrative could not progress. The object is an integral part of the scenery in that it is a material thing that embodies a spatial reference for characters as well as readers. This aspect of an object can work on both an intra- and extra-textual level providing characters within a novel or the work's readers with fundamental information. Imbued with spatial significance, an object can provide an impediment to a character's journey or, even more strongly, pose as an opponent that complicates a given plot's forward movement. Among the objects marked by this ambiguity of helping or hindering narrative, the pharmakon plays a distinguished role serving either as a poison or medicine. Accordingly, objects cannot be thought of as merely decorative elements in the novel, rather they must be thought of as things intimately involved in the action itself. The object, when mentioned, is never insignificant. Alongside its function as an agent, an object can also serve as a symbol for a relationship between individual characters. Indeed, the feelings of the protagonists crystallize themselves in the object, and the object allows for their metaphorical union, even when separated by distance. Many types of objects put the characters into a relationship: banqueters' cups, letters, and gifts all have these sorts of functions. In these instances, an object becomes a sign of a relationship itself. The object can also be a decorative ornament in the scenery but also of the text itself, when authors feature them in long descriptions, for instance in long ekphraseis that enrich the text. Objects, however, are not always a visible aspect of the scenery, but can serve as metaphors or illustrations for abstract concepts. Not only do the novelists use objects in this way to explicate an idea for the reader, but characters do so as well in their speeches. The symbol gives the text a dimension of significance that enriches more and more the reading of the romantic plots. The symbolic system highlights the cultural representations. In a word, the object is far from secondary or subsidiary, but is fundamental to these fictions, since it allows the novel to develop and flourish in all of its dimensions

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Jacks, Xavier. "Méthodes de datation des objets anciens." Paris 5, 1994. http://www.theses.fr/1994PA05P089.

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Books on the topic "Ancient object"

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Meskell, Lynn. Object Worlds in Ancient Egypt: Material Biographies Past and Present (Materializing Culture). Oxford: Berg Publishers, 2004.

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Farcaș, Dan D. Sfidarea extraterestră. București: Editura Regiei Autonome a Imprimeriilor, Imprimeria "Coresi", 1995.

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Dincă, Dumitru Ion. Nevăzuta față a tezaurului de la Pietroasa. București: Editura Eminescu, 1985.

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Jades of ancient China. Beijing: China Intercontinental Press, 2010.

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Da mo ming zhu: Si chou gu dao shang di mi bao. Chengdu Shi: Sichuan jiao yu chu ban she, 1996.

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Yu rui: Zhejiang Cixi Xu shi cang huang Song xiu nei si ji gu dai yu qi zhen pin = Jade blossom : imperial Xiuneisi jade object and ancient jade gems collected by the Xu's of Cixi, Zhejiang. Beijing: Wen wu chu ban she, 2010.

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Museum, British, ed. The cat in ancient Egypt. London: Published by the British Museum Press for the Trustees of the British Museum, 1993.

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Gu yu tu shi = ancient jade. Taibei Shi: Cai Congzhi, 2002.

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Los Angeles County Museum of Art. The American Discovery of Ancient Egypt: Essays. Los Angeles: Los Angeles County Museum of Art, 1996.

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Deydier, Christian. Imperial gold from ancient China. London: Oriental Bronzes Ltd, 1990.

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Book chapters on the topic "Ancient object"

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Gargiulo, María Teresa. "Dynamis, the Object of a Philosophical Medicine: An Epistemological Analysis of the Treatise On Ancient Medicine." In Psychiatry and Neuroscience Update, 53–60. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-61721-9_6.

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Anderson, Graham. "Traditional heroes, magic objects." In Ancient Fairy and Folk Tales, 155–66. Abingdon, Oxon; New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429432446-9.

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Gänsicke, Susanne. "Conservation of Egyptian Objects." In A Companion to Ancient Egyptian Art, 522–43. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch27.

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Strong, Anise K. "Objects of Desire." In Screening Love and Sex in the Ancient World, 167–81. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137299604_13.

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Faure, Richard. "Argument participial clauses viewed as abstract objects in Classical Greek." In Ancient Greek Linguistics, edited by Felicia Logozzo and Paolo Poccetti, 551–64. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110551754-563.

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"Illustration Credits and Object Dimensions." In Ancient Wine, 329–34. Princeton: Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400849536.329.

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"ILLUSTRATION CREDITS AND OBJECT DIMENSIONS." In Ancient Wine, 397–402. Princeton: Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198965-018.

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"ILLUSTRATION CREDITS AND OBJECT DIMENSIONS." In Ancient Wine, 397–402. Princeton University Press, 2019. http://dx.doi.org/10.2307/j.ctvfjd0bk.20.

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Feldman, Marian H. "Object Agency?" In Agency and Identity in the Ancient Near East, 148–65. Routledge, 2016. http://dx.doi.org/10.4324/9781315539256-10.

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Meskell, Lynn. "Object Lessons from Modernity." In Object Worlds in Ancient Egypt, 177–219. Routledge, 2021. http://dx.doi.org/10.4324/9781003086208-8.

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Conference papers on the topic "Ancient object"

1

Gorkovchuk, Denys, Julia Gorkovchuk, and Thomas Luhmann. "INTEGRATION OF COMPLEX 3D MODELS INTO VR ENVIRONMENTS – CASE STUDIES FROM ARCHAEOLOGY." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12123.

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Recently, virtual reality technologies are increasingly being introduced into our lives. The focus of their use is shifting from the entertainment industry to design, healthcare, tourism, architecture, education and more. The advantages of virtual reality technology are especially noticeable in the field of archaeology, as many historical objects have not survived to our time, and their appearance can be reproduced only on the basis of historical sources and archaeological excavations. Most platforms for implementing virtual reality programs are based on game engines that can provide the required level of performance for VR. Such platforms show very good results for architectural objects, which often have many similar elements of simple shapes. Integrating complex objects with unique shapes is usually a problem. In this article, we consider the use of photogrammetric methods to create 3D models of historical objects and the aspects of their integration into a virtual environment based on a game engine. Specifically, aspects such as object resolution and suitable level of detail are discussed. As a case study, such a virtual environment was created for the ancient Trypillia settlement in the territory of Ukraine.

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Cunha Santos, Heloísa, Helmo Alan Batista de Araújo, and Matheus Lorenzato Braga. "Uma proposta de implementação do Gnômon eletrônico." In Computer on the Beach. São José: Universidade do Vale do Itajaí, 2021. http://dx.doi.org/10.14210/cotb.v12.p555-558.

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The Gnomon is the oldest object used by man to measure time, manipulated for observations, ancient astronomers could determine time measurement patterns such as solstices and equinoxes. In this perspective, this article aims to show the implementation and construction of an electronic Gnomon using Arduino microcontroller and Light Dependent Resistors (LDR) in order to make the sun's direction available via the internet and store its data for future analysis and pattern comparisons.

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Li, Haiyan. "An Analysis of the Sentence Pattern of Preverbal Object in Ancient Chinese -- Taking Interrogative Sentence as an Example." In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.85.

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Sataev, R., N. Dubova, and L. Sataeva. "ЗНАЧЕНИЕ НОВЫХ РАДИОУГЛЕРОДНЫХ ДАТ ДЛЯ ПОСТРОЕНИЯ ВНУТРЕННЕЙ ХРОНОЛОГИИ ГОНУР-ДЕПЕ (ТУРКМЕНИСТАН, БРОНЗОВЫЙ ВЕК)." In Радиоуглерод в археологии и палеоэкологии: прошлое, настоящее, будущее. Материалы международной конференции, посвященной 80-летию старшего научного сотрудника ИИМК РАН, кандидата химических наук Ганны Ивановны Зайцевой. Samara State University of Social Sciences and Education, 2020. http://dx.doi.org/10.31600/978-5-91867-213-6-81-82.

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The problems of constructing the internal chronology of the proto-urban center of the Ancient Margiana Gonur-Depe are discussed. Since the site includes a number of architectural and construction complexes that were built at different times and functioned over different periods of time, it is necessary to find out how they relate to each other in terms of time of existence. Since the site is single-layered, the stratigraphic method cannot be used. The comparison of ceramic or object complexes also does not give the desired effect. On this basis, the necessity of using radiocarbon dates to create the basis for the internal chronology of Gonur is justified.

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Yang, Yang, Ichiro Hagiwara, Luis Diago, and Junichi Shinoda. "An Origami Crease Pattern Generating Methodology for “Origami 3D Printer”." In ASME 2019 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/detc2019-97715.

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Abstract The additive 3D printer (hereafter called Add-3D) creates a 3D object with materials being added together layer by layer. Before printing an object, some professional processes are indispensable, such as creating the 3D printable models by computer-aided design (CAD), or 3D scanner, and STL data modification, which are difficult for normal families. As we know, primordially, origami is the ancient art of folding a flat-piece of paper into a 3D shape, that even can be played by kids. So we aim to develop an Origami 3D printer (hereafter called Ori-3D) that can be used by ordinary families with the features of effort and no size limit of model. In Ori-3D, the object is constructed by human hands or by an Origami robot using 2D patterns generated from 3D data (obtained from photos or CAD). Ori-3D includes the following steps: 1) the surface of an object is segmented to several developable surfaces as large as possible using segmentation technique which is used in reverse engineering system. 2) Each developable surface is developed to 2D pattern with mountain & valley lines and glue parts. 3) The 2D crease pattern is optimized by a tree structure method to be easily folded by an Origami Robot. 4) With Origami robot, the object is easily constructed from the improved 2D crease pattern. This paper focuses on discuss the steps 1∼ 3: generation of the 2D crease pattern.

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Kirilovica, Inta, and Margarita Karpe. "Chemical and physical investigations of historic mortars in St. John’s Church (Cesis, Latvia)." In The 13th international scientific conference “Modern Building Materials, Structures and Techniques”. Vilnius Gediminas Technical University, 2019. http://dx.doi.org/10.3846/mbmst.2019.034.

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This paper deals with the stone material investigation of St. John’s Church, located in Cesis, the city in central region of Latvia. Following aspects were considered – chemical, physical and granulometrical characterization of historic mortars, as well as the level of soluble salts in the masonry. The chemical and physical properties of the historical mortars were characterized by visual observation, granulometric analysis, classical wet chemical analysis, XRD, SEM and hydro tests. The results showed that the historic mortars are based on two types of weakly hydraulic lime – calcitic and dolomitic – with brick dust additive. The main crystallized salt in the object was KNO3. The aim of the investigation was to provide compatibility of restoration materials and sustainability of the ancient building.

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Kolejka, Jaromír, and Eva Nováková. "Pre-industrial landscape of the Jeseníky region as a natural and cultural heritage." In 27th edition of the Central European Conference with subtitle (Teaching) of regional geography. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9694-2020-7.

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Small parcels of agricultural land are rare in the present landscape of Czech Republic and become the subject of interests of the state protection of the nature, the landscape and the environment. At the same time, such areas represent interesting subjects for the local administration as attractive tourist object. In the historical territory of Moravia (the eastern 1/3 of the Czech Republic), a regional inventory of areas with preserved ancient land use structure was carried out on all individual cadastral territories (focused not only on small parcels, but also on large aristocratic estates on agricultural and forest land originated before the main wave of industrial revolution Moravia, before 1850. The sites are still subjects to topic economic pressure on land consolidation. Their existence in the future is under threat and is decreasing every year both in number and size. The inventory results are presented on example of the Jeseníky region.

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Schmidtobreick, Linda, Claus Tappert, Michael Shara, Simone Scaringi, Amelia Bayo, Nikolaus Vogt, and Alessandro Ederoclite. "The hunt for ancient novae." In The Golden Age of Cataclysmic Variables and Related Objects IV. Trieste, Italy: Sissa Medialab, 2018. http://dx.doi.org/10.22323/1.315.0046.

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Di Gregorio, Giuseppe. "THE TAORMINA THEATER: THE DIGITAL SURVEY SYSTEM OF KNOWLEDGE OPEN IN TIME." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12168.

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In Sicily there are 19 show venues including ancient theaters and theatrical architectures. Many of these structures are fully functional and subject to visitor flows such as the theater of Syracuse and that of Taormina. They are object of interest and curiosity, revealed in the eighteenth century during the grand tour by travelers and landscape painters, in the last twenty years they have become reasons for study in various scientific areas as from acoustics to archeology, always passing through digital surveying. Studied through classical photogrammetry, structure from motion (SFM), 3D laser scanner, their representation as well as by increasingly refined and detailed two-dimensional graphics, makes use of 3D representations and techniques of virtual reality (VR) and augmented reality (AR). Due to their particular geometry, the need for studies and research is considered essential to deepen the methods of the surveys and plan their developments. Examples and problems for the archaeological survey are reported with the aim of critically evaluating the current state of the art of 3D survey, the potential and possible future developments, in the present study the results obtained for the survey of the Taormina theater (ME) and in-depth analysis of the versure environments.

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Marcenac, Valeria, María José Ballester Bordes, Luis Bosch Roig, Carlos Campos Gonzalez, and Ignacio Bosh Reig. "RUINE AND CITY. Procedure suggestion for the Imperial Forums of Rome." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6220.

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The actual area of the Imperial Forums is presented as a big urban void in which the scale of the city has been lost. A "no man's land", inhospitable, to which you could assign the qualifying of "non-place". A huge and fragmented "archaeological park" in which the observer is not able of relate the rests and recognise the trace of the ancient forums. This problems have been adressed within the framework of the "Workshop of Conservation and Intervention" of the MCPA Master of the UPV, in which have been suggested differente strategies, both of search of the sewn of the city, and of the recognition of the different historical stratums existing on the place. To the same extent, this topic has been an international contest object, on which the proposal we have presented comes from a “modern” attitude, that helps us going beyond the evocative power of the ruin, or from its value as a referent from the past. An attitude which seeks to inhabit the ruin, occupy and settle it with architectures that renew its value, they are commited with the past and the present, and they guarantee their future presence. In this sense, the wanted and searched condition of "presence", is not as supported by the recovery of what have existed as it is by the ability of the intervention by accepting the transformations which have happened throughout history, introducing in turn a new stratum that besides answering the current needs, strengthen its statement as architecture. And all of that, urban regeneration is searched through the recuperation of the city’s scale loss. KEY WORDS: ruin, urban void, urban regeneration, scale of the city, presence. REFERENCES: Bosch, I. “La ruina como valor añadido en el patrimonio. El non finito”. Journal: Ingeniería y Territorio, 2011; Bosch, I. “Interventi sui ponti storici Trinidad e Serranos a Valencia Work on the historic Trinidad and Serranos bridges in Valencia”. Disegnare, Idee immagini. Nº42, 2011 that besides answering the current needs, strengthen its statement as architecture.

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