Academic literature on the topic 'Epitaphs'

The first part of the article describes the stylistic features of poetic epitaphs recorded during field surveys of provincial cemeteries in Perm Krai in 2019. These texts have not only historical and source-study, but also cultural value. The establishment of the features of the broad epitaph heritage in a particular historical period leads to an understanding of the worldview of representatives of everyday life of the given time. When classifying the material, the author took into account the nature of authorship and the genre function. On these grounds, the collected texts are divided into four groups. Group 1 is folklore texts for which the epitaph function is initial. These are epitaphs generated in the folk environment, they are characterized by anonymity, a characteristic set of topics, variability, a high degree of formulaicity and a typified subject. They are broadcast not only in real conditions, but also on the Internet. Group 2 is folklore texts for which the epitaph function is secondary. Such texts are a rare occurrence in cemetery poetry associated with subcultural folklore. Group 3 is authorial texts for which the epitaph function is initial. This group is organized by anonymous works of amateur nature. Fixed in a single copy, they do not find variants either in cemeteries or on the Internet. The stylistic differences between naive epitaphs and folk epitaphs are reduced to the individualization of the dead through their lifetime qualities, as well as the manifestation of the author’s poetic talent. Group 4 is authorial texts for which the epitaph function is secondary. According to the genre of the source, these works belong to poems, novels, dramas, literary epitaphs, aphorisms, and songs. Poetic quotations in the function of epitaphs can be transmitted verbatim or be reworked in accordance with new content and stylistic tasks. In addition to these categories, the studied material also reveals as a transitional phenomenon, when a popular text loses its connection with the author and functions as a folk text. The basis for identifying transient phenomena is provided by Internet statistics. In the final section of the first part, conclusions are drawn about 1) the prevalence of epitaph texts in the cemetery space of the province; 2) the correlation of the author’s classification with previous works on the style of epitaphs; 3) the thematic features of cemetery poetry; 4) the presence of regional specificity in the presented set of texts.

The article is about the transformation of the Epitaph genre in modern lyrics, in particular, in the work of Tatiana Danilyants. Despite the relatively recent interest in the genre of Epitaph, quite a lot of observations have already been made on the genre in the twentieth century. The Epitaph as a genre focuses on both elegiac and ironic pathos, throughout its development it is on the border of several modes, having a clearly defined character of the inscription, which varies from the inscription on the tombstone to the inscription about death (sometimes even epigrammatic). With that background, it is important that Tatiana Danilyants marks the genre of her texts by collecting Epitaphs in a cycle and setting their genre reading by the title. The works of Danilyants is permeated with the theme of memory, memory allows winning back what time takes. Therefore, tragic pathos prevails in the texts, but it prevails, giving place to other features that are not mandatory in the classical memorial genre. The Epitaphs in Tatiana Danilyants’ book “Red Noise” reveal the author’s transformation of the genre: the Epitaphs combine elegiac sadness, sarcasm and bitterness, and a hymn to life. The Epitaph of Danilyants does not develop along any one path, but incorporates several vectors of transformation characteristic of modern poetry.

Abstract Gravestones with Hebrew inscriptions are the most common class of Jewish monuments still present in such regions as Ukraine or Belarus. Epitaphs are related to various Biblical, Rabbinical, and liturgical texts. Despite that, the genre of Hebrew epitaphs seldom becomes an object of cultural or literary studies. In this paper, I show that a function of Hebrew epitaphs is to connect the ideal world of Hebrew sacred texts to the world of everyday life of a Jewish community. This is achieved at several levels. First, the necessary elements of an epitaph – name, date, and location marker – place the deceased person into a specific absolute context. Second, the epitaphs quote Biblical verses with the name of the person thus stressing his/her similarity to a Biblical character. Third, there is Hebrew/Yiddish orthography code-switching between the concepts found in the sacred books and those from the everyday world. Fourth, the epitaphs occupy an intermediate position between the professional and folk literature. Fifth, the epitaphs are also in between the canonical and folk religion. I analyze complex hermeneutic mechanisms of indirect quotations in the epitaphs and show that the methods of actualization of the sacred texts are similar to those of the Rabbinical literature. Furthermore, the dichotomy between the sacred and profane in the epitaphs is based upon the Rabbinical concept of the ‘Internal Jewish Bilingualism’ (Hebrew/Aramaic or Hebrew/Yiddish), which is parallel to the juxtaposition of the Written and Oral Torah.

‘Death is bad for those who die, but good for the undertakers and the grave-diggers’. (Dissoi Logoii 3)And for archaeologists and for epigraphers as well, even though epitaphs, and especially simple or formulaic ones, are probably the most understudied and unloved area of ancient epigraphy. Yet the mere fact of an inscribed epitaph indicates deliberate and intentionally enduring commemoration, and therefore embodies a social attitude; epitaphs thus constitute a matter of historical importance that can be studied for the very reason that so many—in Athens over 10,000—survive. Most Athenian epitaphs which have been found have been dated, and for approximately two-thirds of them a general find-spot has been recorded (very few are actually foundin situwith a body or grave-goods). Temporal and spatial variations within the distribution of Athenian epitaphs (Part I) prompt not only the question of why aspects of this habit should change over time, but why the habit of epitaphs should exist at all; the answer suggested here links the function and distribution of Athenian epitaphs to changing concepts of (and importance attached to) Athenian citizenship. For epitaphs function as more than testimonials to grief: they represent what survivors saw as defining the deceased (Part II), and the significantly greater number of epitaphs in fourth-century Athens derives from Athenians' emphatic definition of themselves as citizens at that time (Part III). Finally, the Athenians's use of tombstones has no parallel in the classical Greek world (Part IV), for the Athenians' developing perceptions of their own city and of their own special relationship, as citizens, to it, were also unparalleled.

The article presents a meaningful division of translations of unusual epitaphs found in the Shakpak ata rock mosque, Sisem ata pantheon, Karaman ata necropolis during expeditions to the sacred places of Mangystau. The translation of the records in the found stone was compared with the published results of the previous study and translation, and some adjustments were made. The epitaphs provided examples of the fact that the question raised and the reflections in it are linked to the work of local poets and zhyrau, have a common worldview, and border within the Sufi current of Islam. During the research proposals were formulated to turn some elementary concepts into a scientific problem, considering them from a different angle. Special attention was paid to the specifics of the religious context concerning the uniqueness of epitaphs, which are considered the main requirement to become an object of literary studies. When considering the epitaph of the peoples of the East, especially the peoples of Islam, importance was attached to the importance of a fundamental approach to the principles of religion. The semantic analysis of the accumulated epitaphs was carried out with an emphasis on keywords, the purpose of writing the found epitaphs was predicted and a reference was made to the religious basis of the national worldview in a space that has not lost its sacredness both in antiquity and at the present time.

Despite the variety of formulae on Coptic epitaphs, some of them have become a feature of specific districts. The commemorative formula is one of these types, which were commonly used to commemorate the subject of the epitaph. The aim of the present article is to publish six unknown Coptic epitaphs belong to this type of formula and which are now kept in the Abou El-Goud region storage magazine in Luxor. These funerary stelae were not found as a result of specific excavations, but they were in the possession of two persons before the Antiquities Protection Law of 1983.

Abstract A recently discovered collection of epitaphs (muzhi 墓誌) reveals copious references to Tao Yuanming (Tao Qian 陶潛, 365–427), a writer of pervasive influence on Chinese culture. In recent decades, both English and Chinese scholarship has focused on Tao's literary and historical reception, with little attention paid to his representation in epitaph writing. This article, through an examination of these newly unearthed documents, presents forty-seven epitaph fragments with direct mention of Tao's name. Most were written in the Tang dynasty, when Tao was ardently appreciated as a poet, and his literary vocabulary was widely borrowed and imitated. However, a close reading of epitaphs illustrates that Tao's image as a moral exemplar was perhaps even more prominent than his role as esteemed poet. He was invoked to suggest the comparable personal traits of the tomb owner (muzhu 墓主), his name frequently juxtaposed with various historical figures renowned for their virtue. His name is also used as an adjective to modify carefully selected images to further characterize him as a moral exemplar. In Tang epitaphs, moral concerns together with philosophical contemplation on the motives of reclusion play a significant role, laying the foundation for the complexity of Tao's image in the Song period. Current research seeks to increase our understanding of the process behind the construction of Tao as a cultural icon.

In poetry and fiction, Herman Melville explored the epitaphic genre's capacity for destabilizing poetic voice and producing a temporality that is recursive but not necessarily recuperative. The epitaphs of Battle-Pieces (1866) invigorate the form while questioning its ability to memorialize the dead of the American Civil War.

The goal of this paper is to increase our understanding of what archaic verse epitaphs meant to contemporary readers. Section I suggests their fundamental message was praise of the deceased, expressed in forms characteristic of poetic encomium in its broad, rhetorical sense, i.e., praise poetry. In section II, the conventions of encomium in the epitaphs are compared to the iconographic conventions of funerary art. I conclude that verse inscriptions and grave markers, not only communicate the same message of praise, but do so in a formally parallel manner. Section III, drawing on Pindar as a preserver of archaic thinking, attributes the parallelism between verse epitaph and grave marker to their common debt to funerary ritual. The epigrams will be seen to share with their monuments the goal of memorializing this ritual.

AbstractThis study investigated various manifestations of gravestone inscriptions to find different types of moves in the formation of such inscriptions in two Iranian social classes. The sample of the study included forty epitaphs in two shrines in the north and west of Tehran. Each epitaph was then photographed for analysis. Swales’ genre move model was used to analyze the data. The moves involved word choice, content, graphics, socio-cultural values, and written communicative practices. Considering socio-cultural factors characterizing the social classes, the results revealed four moves in the epitaphs in the Shrine located in north of Tehran, and eight moves in the Shrine located in west of Tehran. Out of the total of eight moves observed, three were different in the two classes. Comparing these patterns of moves and their frequencies, various emotional, structural, lexical, gender-specific, and age-specific differences were observed.

This thesis looks at over 3,000 inscriptions of unmarried daughters, under the age of 20, during the Roman Empire. It discusses the formulaic ways in which daughters were described on their tombstones based on their age and the Roman virtues valued at the time. It primarily focuses on descriptors, superlatives used, the dedicators who commissioned the work, girls who died before their wedding, and ages of girls which have excesses in the months or days she lived as inscribed on her epitaph.

Les stèles funéraires d’Antioche et de ses environs datant de l’Antiquité sont en si grand nombre qu’elles méritent une étude approfondie. Aucune des recherches menées tout au long du XXe siècle n’offre en effet un corpus complet ni illustré. De plus, le matériel découvert non seulement à l’époque ottomane impériale, mais aussi lors du mandat français notamment lors des fouilles de l’Université de Princeton a été dispersé entre la Turquie, la France, les États-Unis, la Syrie et le Liban. Consciente des enjeux multiples qu’une telle étude d’ensemble serait susceptible de nous livrer sur les éléments manquant dans notre connaissance des divers aspects de la vie sociale, culturelle et religieuse à Antioche et dans ses environs dans l’Antiquité, nous nous sommes efforcée de rassembler le plus grand nombre possible de stèles et de les illustrer, de les analyser minutieusement avant d’élaborer une synthèse sur le sujet. Dans cet objectif, nous avons mené des recherches au Musée archéologique d’Antakya et aux Archives du département d’Art et archéologie de l’Université de Princeton, deux principaux endroits où sont conservés les fruits des fouilles, pour pouvoir comparer les enregistrements d’inventaire, en établir une concordance et obtenir des données complémentaires. Quoique leurs collections soient relativement restreintes, nous avons également étudié les stèles du Musée archéologique d’Istanbul, et celles du Musée du Louvre et du Musée d’art de Worcester. Pour maîtriser nos résultats, nous avons utilisé le programme de File Maker Pro Advanced 11.0v2, qui permet de construire une base de données sans laquelle les documents recueillis seraient impossibles à gérer.Même si la langue grecque est régulièrement choisie pour graver les épitaphes des stèles, on peut constater de nombreuses variations qui peuvent être dialectales mais semblent surtout résulter d’une maîtrise médiocre de la langue. En dépit de la convention de l’épigraphie latine saisissable à travers l’onomastique romaine quoique transcrite en grec, les règles sont appliquées avec peu de rigueur dans les textes de notre corpus. Des noms théophores sont formés à partir des divinités aussi bien grecques, romaines qu’orientales. À partir de ces constatations, nous avons pu reconstituer des pans d’une société qui a réussi à concilier tant bien que mal les Hellènes, les Romains, les Orientaux hellénisés et romanisés sinon d’origine du moins de nom
The funerary steles of Antioch and its surrounding areas dating from Antiquity are so numerous that they deserve a thorough study. None of the researches performed throughout 20th century offered either a comprehensive or an illustrated corpus. Furthermore, the materials discovered in the Ottoman imperial period as well as throughout the French mandatory rule —particularly during the excavations conducted by Princeton University— were dispersed among Turkey, France, United States of America, Syria and Lebanon.Observing such deficiencies in the preliminary studies we became conscious of the necessity to cover the missing elements and gaps regarding the various aspects of social, cultural and religious life in Antioch and its surrounding areas in Antiquity through a comprehensive study. We endeavoured to collect largest possible number of steles, to illustrate them, and consequently to elaborate our synthesis based on minute analyses.For this purpose, we conducted researches in Antakya Archaeological Museum and in the Archives of the Department of Art and Archaeology at Princeton University (two main places where the outcome of the aforesaid excavations are preserved) in order to compare the inventory records, to establish a correspondence and to obtain complementary data. Although their collections are relatively small, we also studied the steles of the Archaeological Museum of Istanbul, the Louvre Museum and the Worcester Art Museum. We used the software program File Maker Pro Advanced 11.0v2 for designing an extensive database which rendered the collected material manageable. Although Greek is regularly chosen in engraving epitaphs, we may observe many variations that are dialectal, most likely due to poor command of the language. Notwithstanding that the Latin epigraphic conventions are perceptible through Roman onomastics even though transcribed in Greek, these rules are applied with little rigor in the texts of our corpus. Theophoric names are formed after the names of Greek, Roman as well as the Oriental gods. Based on these observations, we were able to reconstruct parts of a society that somehow managed to reconcile the Hellens, the Romans, the Hellenized and the Romanized Orientals on the level of name, if not on the level of ethnic origins

Проблем аутобиографије и аутобиографског текста у српској књижевности средњег века комплексан је и у науци недовољно истражен. Иако интересовање за аутобиографске текстове старе српске књижевности није ново, досадашња бављења овом темом имала су за циљ само да прикупе и делимично опишу те текстове, без покушаја њиховог систематског сагледавања и тумачења у контексту српске и византијске књижевне традиције, а готово увек без одговарајуће теоријске аргументације.Дефинишући аутобиографију, савремене теорије у први план стављају појмове идентитета, индивидуалности и субјективитета. Ови појмови, међутим, захтевају темељно преиспитивање када је реч о средњем веку, који није познавао индивидуалност у данашњем смислу речи. Штавише, средњи век суочава нас са индивидуумом који се плаши своје оригиналности, који се боји да буде ,,он сам“.Отуда је, према средњовековном погледу на свет, писац само ,,инструмент“, продужена рука Бога; он је стваралац који ће све добро, тачно и истинито приписати дејству Духа, а своје ауторство признати једино у одступањима и погрешкама. Топос скромности којим средњовековни писци себе одређују као “грешне“, “недовољне“, “недостојне“, “последње од свих“, којим признају своје незнање и неспособност да пишу о одређеној теми, конституисао се најпре као израз монашке смерности, да би се у ХIV и XV веку ово опште место задржало као обична “декорација књижевног карактера“.Ипак, иако је за човека средњег века оригиналност била грех таштине, то не значи да средњовековни уметници нису били способни да створе оригинална дела, нити да су књижевна дела настала у епохи средњег века лишена особености и креативног приступа. Упркос томе што средњовековни аутори нису тежили сопственом изразу, већ су следили традицију раније формирану у одговарајућем жанру, ипак можемо говорити о њиховом индивидуалном стилу. Индивидуалност уметника огледала се, углавном, у инвентивности с којом је писац приступао наслеђеним навикама и у оплемењивању традиционалних поступака.Једна од основних претпоставки нашег истраживања била је да у епохи средњег века социјални идентитет готово у потпуности потискује лични идентитет, те да је средњовековни човек био сведен на функцију коју је имао у друштву, односно, да се право на писање аутобиографије у средњем веку заснива на темељу социјално признате важности. Прихватили смо, при том, мишљење већине изучавалаца да је за средњовековље најприкладнији појам ,,културне фигуре“, којим су означени тзв. идеални типови људске егзистенције, а који се, између осталог, исказују у језику књижевности и писмености оног времена.Имајући у виду чињеницу да поетиком средњовековне књижевности доминира начело жанра, а не начело ауторства, те да је управо жанр најзначајнији фактор који одређује шта ће писац рећи о себи и о свом животу, трагали смо за аутобиографским фрагментима у повељама, посланицама, записима и натписима, и житијима из XIV века.Будући да је основна карактеристика средњовековне аутобиографске књижевности фрагментарност (подаци које аутор оставља о себи расути су у текстовима различитих жанрова) један од основних циљева нашег истраживања био је да се утврди каква је веза аутобиографског фрагмента с главним текстом. Такође, као својеврстан аутобиографски поступак, а у складу с поетичким начелима средњовековне књижевности, анализирали смо сваку иновативну и оригиналну употребу општих места и библијских цитата, указујући на широке могућности увођења оригиналног садржаја у задате обрасце.У научној литератури посвећеној делима српске средњовековне књижевности појединим текстовима 14. века приписан је атрибут ,,аутобиографског дела“, док су неки чак означени као ,,праве аутобиографије“ (нпр. Улијарска повеља приписана краљу Милутину и Реч Душанова уз Законик). У неким случајевима, међутим, такво атрибуирање је потпуно неоправдано, па смо у раду покушали ревалоризовати уврежена мишљења.Коначно, један од циљева нашег истраживања био је да установимо шта је основна функција аутобиографских фрагмената у делима српске средњовековне књижевности: чување од заборава, оживљавање прошлости, или, пак, пишчево представљање сопственог религиозног и духовног развоја? У сваком случају, на примеру српских списа XIV века показује се да се аутобиографски принцип не мора схватити искључиво као принцип самоисказивања, већ и као одраз духа епохе у објективном сведочанству појединца.
Problem autobiografije i autobiografskog teksta u srpskoj književnosti srednjeg veka kompleksan je i u nauci nedovoljno istražen. Iako interesovanje za autobiografske tekstove stare srpske književnosti nije novo, dosadašnja bavljenja ovom temom imala su za cilj samo da prikupe i delimično opišu te tekstove, bez pokušaja njihovog sistematskog sagledavanja i tumačenja u kontekstu srpske i vizantijske književne tradicije, a gotovo uvek bez odgovarajuće teorijske argumentacije.Definišući autobiografiju, savremene teorije u prvi plan stavljaju pojmove identiteta, individualnosti i subjektiviteta. Ovi pojmovi, međutim, zahtevaju temeljno preispitivanje kada je reč o srednjem veku, koji nije poznavao individualnost u današnjem smislu reči. Štaviše, srednji vek suočava nas sa individuumom koji se plaši svoje originalnosti, koji se boji da bude ,,on sam“.Otuda je, prema srednjovekovnom pogledu na svet, pisac samo ,,instrument“, produžena ruka Boga; on je stvaralac koji će sve dobro, tačno i istinito pripisati dejstvu Duha, a svoje autorstvo priznati jedino u odstupanjima i pogreškama. Topos skromnosti kojim srednjovekovni pisci sebe određuju kao “grešne“, “nedovoljne“, “nedostojne“, “poslednje od svih“, kojim priznaju svoje neznanje i nesposobnost da pišu o određenoj temi, konstituisao se najpre kao izraz monaške smernosti, da bi se u HIV i XV veku ovo opšte mesto zadržalo kao obična “dekoracija književnog karaktera“.Ipak, iako je za čoveka srednjeg veka originalnost bila greh taštine, to ne znači da srednjovekovni umetnici nisu bili sposobni da stvore originalna dela, niti da su književna dela nastala u epohi srednjeg veka lišena osobenosti i kreativnog pristupa. Uprkos tome što srednjovekovni autori nisu težili sopstvenom izrazu, već su sledili tradiciju ranije formiranu u odgovarajućem žanru, ipak možemo govoriti o njihovom individualnom stilu. Individualnost umetnika ogledala se, uglavnom, u inventivnosti s kojom je pisac pristupao nasleđenim navikama i u oplemenjivanju tradicionalnih postupaka.Jedna od osnovnih pretpostavki našeg istraživanja bila je da u epohi srednjeg veka socijalni identitet gotovo u potpunosti potiskuje lični identitet, te da je srednjovekovni čovek bio sveden na funkciju koju je imao u društvu, odnosno, da se pravo na pisanje autobiografije u srednjem veku zasniva na temelju socijalno priznate važnosti. Prihvatili smo, pri tom, mišljenje većine izučavalaca da je za srednjovekovlje najprikladniji pojam ,,kulturne figure“, kojim su označeni tzv. idealni tipovi ljudske egzistencije, a koji se, između ostalog, iskazuju u jeziku književnosti i pismenosti onog vremena.Imajući u vidu činjenicu da poetikom srednjovekovne književnosti dominira načelo žanra, a ne načelo autorstva, te da je upravo žanr najznačajniji faktor koji određuje šta će pisac reći o sebi i o svom životu, tragali smo za autobiografskim fragmentima u poveljama, poslanicama, zapisima i natpisima, i žitijima iz XIV veka.Budući da je osnovna karakteristika srednjovekovne autobiografske književnosti fragmentarnost (podaci koje autor ostavlja o sebi rasuti su u tekstovima različitih žanrova) jedan od osnovnih ciljeva našeg istraživanja bio je da se utvrdi kakva je veza autobiografskog fragmenta s glavnim tekstom. Takođe, kao svojevrstan autobiografski postupak, a u skladu s poetičkim načelima srednjovekovne književnosti, analizirali smo svaku inovativnu i originalnu upotrebu opštih mesta i biblijskih citata, ukazujući na široke mogućnosti uvođenja originalnog sadržaja u zadate obrasce.U naučnoj literaturi posvećenoj delima srpske srednjovekovne književnosti pojedinim tekstovima 14. veka pripisan je atribut ,,autobiografskog dela“, dok su neki čak označeni kao ,,prave autobiografije“ (npr. Ulijarska povelja pripisana kralju Milutinu i Reč Dušanova uz Zakonik). U nekim slučajevima, međutim, takvo atribuiranje je potpuno neopravdano, pa smo u radu pokušali revalorizovati uvrežena mišljenja.Konačno, jedan od ciljeva našeg istraživanja bio je da ustanovimo šta je osnovna funkcija autobiografskih fragmenata u delima srpske srednjovekovne književnosti: čuvanje od zaborava, oživljavanje prošlosti, ili, pak, piščevo predstavljanje sopstvenog religioznog i duhovnog razvoja? U svakom slučaju, na primeru srpskih spisa XIV veka pokazuje se da se autobiografski princip ne mora shvatiti isključivo kao princip samoiskazivanja, već i kao odraz duha epohe u objektivnom svedočanstvu pojedinca.
The problem of autobiographies and autobiographical texts in the medieval Serbian literature is complex and has not been researched enough scientifically. Although the interest in autobiographical texts in the old Serbian literature is not new, prior dealings with this topic only aimed at collecting and partly describing those texts, without attempting to systematically consider and interpret them in the context of Serbian and Byzantine literary tradition. What’s more, they almost always lack appropriate theoretical argumentation.In their definition of autobiography, contemporary theories emphasize the notions of identity, individuality and subjectivity. However, these notions require a thorough reconsideration in relation to the Middle Ages, when individuality was not recognized in today's sense of the word. Moreover, the Middle Ages present us with the individual afraid of their originality, afraid of being “themselves”.Thus, according to the medieval view of the world, the writer is just an “instrument” – God’s extended arm; he is the creator who will ascribe everything good, correct and true to the act of the Holy Spirit. On the other hand, he will be recognized as the author only in alterations and mistakes. Medieval writers use the topos of modesty to define themselves as “sinful”, “inadequate”, “unworthy”, “last of all”, and to admit their ignorance and incompetence to write about a specific topic. At first, the topos was constituted as an expression of monastic meekness, but in the 14th and 15th century this commonplace remained as an ordinary “decoration of literary nature”.However, even with individuality being the sin of vanity for the medieval person, it means neither that medieval artists were incapable of creating original works nor that the literary works from the Middle Ages lack any distinctiveness and creative approach. Although medieval authors did not aspire to their own expression but followed earlier established traditions in corresponding genres, their individual style can still be a matter of discussion. The individuality of an artist was reflected mainly in his inventiveness which he used to approach inherited habits and in the refinement of traditional devices.One of the basic assumptions of this research was that the social identity almost completely suppresses the personal identity in the Middle Ages, and that the medieval person was reduced to the function they had in the society, that is, that the right to write an autobiography in the Middle Ages was based on socially recognized importance. In addition, the proposition of most researchers that “cultural figures” is the most appropriate term for the medieval period is acknowledged in the research. This term signifies ideal types of human existence, which are, among other aspects, expressed in the language of literature and literacy of this era.Bearing in mind the fact that the poetics of medieval literature is dominated by the principle of genre rather than the principle of authorship and that the genre is the crucial factor when determining what the writer is going to say about himself and his life, the research focused on autobiographical fragments in charters, epistles, inscriptions and epitaphs, and hagiographies from the 14th century.Since fragmentariness is the central feature of medieval autobiographical literature (the facts which author leaves about himself are scattered in texts belonging to different genres), one of the primary aims of this research is to establish the quality of the connection between autobiographical fragments and the main text. In addition, every innovative and original use of topoi and biblical quotations has been analyzed as a particular autobiographical device in accordance with the poetical principles of medieval literature, highlighting a range of possibilities for the introduction of original contents into the given patterns.In the scholarly researches dedicated to the works of medieval Serbian literature, certain texts from the 14th century have been described as “autobiographical works” while some have even been designated as “real autobiographies” (e.g., Ulijarska Charter ascribed to King Milutin and Dusan’s Reč uz Zakonik). However, in some cases, such attribution is completely unjustified so this research has tried to revalue prevailing opinions.Finally, one of the aims of this research is to establish the basic function of autobiographical fragments in medieval Serbian literature and see if they were used to preserve memory, resurrect the past or allow the writer to present his own religious and spiritual development? In every case, taking the Serbian writings from 14th century as examples, it is shown that the autobiographical principle does not have to be understood only as the principle of self-expression, but as the reflection of the spirit of an era in an individual’s objective testimony.

Abstract The coda considers engraving and epitaphs as Yeats’s final experiment in sculptural analogies for poetry. This includes an 1891 love poem to Maud Gonne, his deliberative naming of the Rising leaders in “Easter, 1916,” multiple versions of “To be Carved on a Stone at Thoor Ballylee,” and his self-epitaph in the final lines of “Under Ben Bulben.” Yeats’s analogy of writing as carving invites comparison with Wordsworth’s Essays upon Epitaphs, John Ruskin’s lecture on engraving as “the Art of the Scratch,” and Walter Pater’s essay on “Style.” In an echo of poems discussed previously in the monograph, the “epitaphic” verses under consideration reflect on the practice of engraving, and what remains or endures beyond the grave. Yeats’s reserve and economy of language in poems written to be engraved suggests a mode of writing that is distinct from the elegy, as Wordsworth asserts in his essays.

Chapter 10 studies Hellenistic and Roman military epitaphs and addresses a number of interconnected issues: the unpopularity of epitaphs for individual soldiers in the Greek Anthology (only a dozen of such epigrams are present, leaving side fictitious pieces for literary or historical figures); the near absence of inscribed epitaphs in literary sources, despite the fact that they are often of good literary quality; and the question of their authorship: there is no evidence that any epigrammatist known from the Greek Anthology also acted as a professional writer of military epitaphs, as Simonides did. Epitaphs for common soldiers were usually commissioned to professional poets, most of whom now remain anonymous; in some cases the deceased, especially when he presents himself as a veteran belonging to the local elite, may have had his say on the contents and form of his future epitaph.

Săgeata is the seat of the commune with the same name in Buzău county. The names on the funeral monuments in the cemeteries found in this settlement are specific to Romanian rural space. As far as their origin is concerned, one can note that 25.9% are biblical names, originating in Christianity and with religious connotations, 20.3% have Slavic roots and were borrowed via Bulgarian, whereas 7.4% are of Slavic origin and entered the Romanian language via Greek. Epitaphs consist of messages or appeals to wisdom, adages which were “sung” to express the regret of dying, appeals to remember the deceased, words which conveyed resignation before one’s destiny or the grief of the beloved, various philosophical phrases, and sometimes small prayers or personalized verses, etc. The oldest epitaph in the cemeteries in Săgeata dates back to 1892.

Traditionally, anthropomorphic sculptures from the necropolis of the ancient city of Gorgippia are flattened half-shapes without detailed face and body contours, merely trunks and heads. In the Northern Black Sea region such monuments are characteristic of the IV–II centuries BC, but some date back to the first centuries of the Common Era. There is a reason to believe that they were used for ceremonial purposes rather than as markers of particular burial grounds or gravestones in the conventional meaning. Faceless half-shapes in Greek necropolises are associated with rites of the worship of Persephone, who dies (as represented by faceless sculptures) and then resurrects (by sculptures with painted faces) as seasons change. They could be used like special posts – ‘cippi’ – for marking sacred places within necropolises with libations and sacrifices in honor of gods with chthonic properties. Such incarnations are observed in Persephone (Kore), Demeter, Aphrodite, Artemis and their male counterparts – Dionysus, Hercules, Hermes, Eros. Epitaphs and carved scenes related to traditions of the funeral ritual on the anthropomorphic objects turned them into tombstones dedicated to specific deceased individuals.

This study is dedicated to researching the significance of the Epitaphios of King Milutin as a kind of cultural and historical heritage, whose stylistic and artistic value places this artifact among the representatives of the main development of Serbian art in the 14th century. The Epitaphios of King Milutin, as a museum derivative of Serbian medieval applied art, symbolizes the canvas with which Joseph of Arimathea embalmed the body of the Savior during the funeral of Jesus Christ. The purpose of the Epitaphios is to point to the very beginning of the Christian religion, centered on the concept of Resurrection. Therefore, the empty Epitaphios in the New Testament is not only the absence of the body but also a hint of new life, implying corporality in a new and unrepeatable anthropological framework. With a specific way of making and stylistic composition, this object of sacral origin represents the embodiment of the cultural and artistic climate of the Palaeologan dynasty. One of the basic methods applied in this paper is a comparative analysis of the motifs of the Resurrection embodied in the stylistic and artistic production of Epitaphios in Serbian medieval art, as well as a review of the significance and origin of this subject. Therefore, it is provided insight into the dual development path of the Epitaphios - on the one hand, its spiritual significance with its allegorical knowledge, and on the other hand, as a material artifact of cultural-artistic and historical value.

The main objective of the proposed research was to study IQD1's mechanism of action and elucidate its role in plant protection. Preliminary experiments suggest that IQD1 binds CaM in a Ca²⁺-dependent manner and functions in general defense responses. We propose to identify proteins and genes that interact with IQD1, which may provide some clues to its mechanism of action. We also plan to dissect IQD1's integration in defense pathways and to study and modulate its binding affinity to CaM in order to enhance crop resistance. Our specific objectives were: (1) Analysis of IQD1's CaM-binding properties; (2) Identification of IQD1 targets;(3) Dissection of IQD1 integration into defense signaling pathways. Analysis of IQD1's CaM-binding properties defined four potential classes of sequences that should affect CaM binding: one is predicted to raise the affinity for Ca²⁺-dependent interaction but have no effect on Ca²⁺-independent binding; a second is predicted to act like the first mutation but eliminate Ca²⁺-independent binding; a third has no predicted effect on Ca²⁺-dependent binding but eliminates Ca²⁺-independent binding; and the fourth is predicted to eliminate or greatly reduce both Ca²⁺-dependent and Ca²⁺-independent binding. Following yeast two hybrid analysis we found that IQD1 interact with AtSR1 (Arabidopsis thalianaSIGNALRESPONSIVE1), a calcium/calmodulin-binding transcription factor, which has been shown to play an important role in biotic and abiotic stresses. We tested IQD1 interaction with both N-terminal or C-terminal half of SR1. These studies have uncovered that only the N-terminal half of the SR1 interacts with the IQD1. Since IQD1 has an important role in herbivory, its interaction with SR1 suggests that it might also be involved in plant responses to insect herbivory. Since AtSR1, like IQD1, is a calmodulin-binding protein and the mutant showed increased sensitivity to a herbivore, we analyzed WT, Atsr1 and the complemented line for the levels of GS to determine if the increased susceptibility of Atsr1 plants to T. ni feeding is associated with altered GS content. In general, Atsr1 showed a significant reduction in both aliphatic and aromatic GS levels as compared to WT. In order to study IQD1's molecular basis integration into hormone-signaling pathways we tested the epistatic relationships between IQD1 and hormone-signaling mutants. For that purpose we construct double mutants between IQD1ᴼXᴾ and mutants defective in plant-hormone signaling and GS accumulation. Epitasis with SA mutant NahG and npr1-1 and JA mutant jar1-1 suggested IQD1 function is dependent on both JA and SA as indicated by B. cinerea infection assays. We also verified the glucosinolate content in the crosses siblings and found that aliphatic GSL content is reduced in the double transgenic plants NahG:IQD1ᴼXᴾ as compare to parental lines while the aliphatic GSL content in the npr1-1:IQD1ᴼXᴾ and jar1-1: IQD1ᴼXᴾ double mutants was intimidated to the parental lines. This suggests that GSL content dependency on SA is downstream to IQD1. As a whole, this project should contribute to the development of new defense strategies that will improve crop protection and reduce yield losses and the amount of pesticides required; these will genuinely benefit farmers, consumers and the environment.