To see the other types of publications on this topic, follow the link: Epitaphs.
Journal articles on the topic 'Epitaphs'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Epitaphs.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Panteleeva, Liliya M. "Stylistic and Semantic Features of Epitaphs (Based on Texts of Provincial Cemeteries in Perm Krai). Part I." Vestnik Tomskogo gosudarstvennogo universiteta, no. 462 (2021): 40–48. http://dx.doi.org/10.17223/15617793/462/5.
Full textAbstract:
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.
2
Artemova, Svetlana Yu. "TRANSFORMATION OF THE EPITAPH IN THE POETRY OF TATIANA DANILYANTS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 5 (2023): 109–19. http://dx.doi.org/10.28995/2686-7249-2023-5-109-119.
Full textAbstract:
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.
3
Nosonovsky, Michael. "Connecting Sacred and Mundane: From Bilingualism to Hermeneutics in Hebrew Epitaphs." Studia Humana 6, no. 2 (June 1, 2017): 96–106. http://dx.doi.org/10.1515/sh-2017-0013.
Full textAbstract:
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.
4
Meyer, Elizabeth A. "Epitaphs and citizenship in Classical Athens." Journal of Hellenic Studies 113 (November 1993): 99–121. http://dx.doi.org/10.2307/632400.
Full textAbstract:
‘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.
5
Shokhayev, M. T., and B. I. Nurdauletova. "The Sacred Space of Mangystau: the Content of Unusual Epitaphs." Iasaýı ýnıversıtetіnіń habarshysy 125, no. 3 (September 15, 2022): 79–94. http://dx.doi.org/10.47526/2022-3/2664-0686.07.
Full textAbstract:
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.
6
Khalil, Ahmed T. A. "Six Coptic Funerary Stelae with the Commemorative Day Formula from the Abou El-Goud Storage Magazine." Journal of Egyptian Archaeology 105, no. 2 (December 2019): 275–83. http://dx.doi.org/10.1177/0307513320912439.
Full textAbstract:
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.
7
Kexian, Hu, and Yuan Zhang. "Tao Yuanming in Recently Unearthed Epitaphs from the Sui and Tang." Journal of Chinese Literature and Culture 6, no. 2 (November 1, 2019): 461–82. http://dx.doi.org/10.1215/23290048-8042016.
Full textAbstract:
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.
8
Caddell, Jillian Spivey. "Melville's Epitaphs: On Time, Place, and War." New England Quarterly 87, no. 2 (June 2014): 292–318. http://dx.doi.org/10.1162/tneq_a_00370.
Full textAbstract:
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.
9
Day, Joseph W. "Rituals in stone: early Greek grave epigrams and monuments." Journal of Hellenic Studies 109 (November 1989): 16–28. http://dx.doi.org/10.2307/632029.
Full textAbstract:
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.
10
Karimnia, Amin, and Fatemeh Mohammad Jafari. "A sociological analysis of moves in the formation of Iranian epitaphs." Semiotica 2019, no. 229 (July 26, 2019): 25–39. http://dx.doi.org/10.1515/sem-2017-0105.
Full textAbstract:
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.
11
Funsten, Grace. "A Learned Dog: Roman Elegy and the Epitaph for Margarita." Classical Journal 119, no. 3 (February 2024): 320–46. http://dx.doi.org/10.1353/tcj.2024.a919681.
Full textAbstract:
Abstract: The epitaph for Margarita ( CIL 6.29896) consists of six elegiac couplets in Latin engraved on a small marble plaque in commemoration of a domestic dog. It was discovered in Rome and likely made in the second century CE. In this paper I examine its allusions to Augustan elegy and verse epitaphs for humans, arguing that it humorously applies eroticizing and literary language to a dog. I then consider Margarita’s status as an import from Gaul, arguing that the epitaph fits into a broader tendency of Augustan elegy to use foreign luxuries to eroticize and naturalize Roman imperialism.
12
Carkowa, Tatiana. "Старость — концепт русской стихотворной эпитафии?" Slavica Wratislaviensia 163 (March 17, 2017): 71–80. http://dx.doi.org/10.19195/0137-1150.163.6.
Full textAbstract:
Old age — aconcept of Russian epitaph?The author of the article Old age — aconcept of Russian epitaph? — Tatiana S. Tsarkova is the editor together with Sergey I. Nikolaev of the first Russian anthology of the epitaph genre and author of the monographic study Russian Verse Epitaph. Sources. Evolution. Poetics Petersburg, 1999. In the monograph she, among other things, explores such concepts as ‘life’, ‘death’, ‘memory’, ‘monument’. It might seem that such arelevant cultural notion as ‘old age’, causally in most cases associated with the concept ‘death’, would appear in epitaphs with evident frequency and acquire the significance of agenre concept. However, as quite an extensive material demonstrates, nothing of the kind happens, out of 3000 epitaphic texts only 3 times the word ‘old age’ is mentioned, and no more than 15 its derivatives or paraphrases like ‘years’, ‘grey hair’, ‘of many years’. The author offers explanation to this unpredictable phenomenon. Czy starość jest konceptem rosyjskiego epitafium wierszowanego?Autorka artykułu Czy starość jest konceptem rosyjskiego epitafium wierszowanego? jest twórcą wspólnie zS.I. Nikołajewem pierwszej rosyjskiej antologii epitafiów literackich oraz monografii Rosyjskie epitafium literackie. Źródła. Ewolucja. Poetyka Sankt Petersburg, 1999. W monografii zbadano takie koncepty, jak życie, śmierć, pamięć czy pomnik. Wydawałoby się, że starość, jako pojęcie silnie związane zkonceptem śmierci, powinna wyjątkowo często pojawiać się w epitafiach. Jednak — jak wskazują badania przeprowadzone na bardzo obszernym materiale — jest zupełnie inaczej. Wtrzech tysiącach epitafiów stwierdzić można zaledwie trzykrotne użycie słowa „starość” inie więcej niż piętnastokrotne użycie słów pochodnych iblisko związanych ze słowem „starość”, takich jak np. „lata” czy „siwe włosy”. Autorka artykułu wyjaśnia ten fenomen.
13
Potnitseva, Tetiana M. "THE VOICES OF THE WAR (“EPITAPHS OF THE WAR” BY R. KIPLING)." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 121–33. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-9.
Full textAbstract:
The article is examined R. Kipling’s “Epitaphs of the War” (1919) appeared as a summing up of his experience during the First World War. The work reflects the writer’s feeling of tragedy and grandiosity of that historical event. Kipling himself witnessed many episodes of the war and survived his personal tragedy – the death of his son John in 1915. The article aims to analyze the genre originality of the epitaph in the context of R. Kipling’s anti-war theme. Although this part of Kipling’s creative heritage remains less well-known, it is attracting the attention of Ukrainian literary critics and translators now. To reveal the specificity of that poetic work, the comparative and historical-literary methods are applied. The original form of the epitaphs is presented as an epigram which allows one to hear either a voice of a perished soldier or of someone who is reading the epitaph. This manner – not to depict and explain but to transcribe reality – is very recognizable of Kipling’s “masculine style”. In such a manner the first English laureate of the Noble Prize creates a diverse picture of the War in a variety of its tragic episodes and men’s destinies. Thus, a universal picture is born and the main conclusions of the author become transparent. Kipling creates a generalized image of the War by depicting those incredible variants of death “in which life may be extinguished” (J.M.S. Tompkins). Among the dead – “the beginner”, who didn’t realize yet that the war was a reality, not a game as well as the 18 years old soldier of the Royal Air Force (“R.A.F. (Aged Eighteen)”); the sentinel who falls asleep on his post (“The Sleepy Sentinel”); the one who was afraid to face death (“The Coward”) and was severely punished for that by his own combatants and many other tragic stories of the war. The climax of the cycle is the one epitaph in which Kipling formulates his main conclusion about the war – it is “Common Form”. The very title of this epitaph could be interpreted as a “generally used form of explanation” which in Kipling’s ironical presentation is identical to “the main conclusion”. His personal summing up of the event is formulated in the final words: “If any question why we died / Tell them, because our fathers lied”. Namely in these words personal and universal meet. Kipling had feelings of guilt about pushing his son to go to war. At that time, he was captured by patriotic illusions as well as many writers of his country. The perception of the War as a great battle for national and human freedom was the ground on which the main pathos of the War was formed. It penetrated the literary works, the mood of people and resulted in the main myth that appears at any war. Conclusion. The voices of the perished in the First World War that sound in Kipling’s epitaphs create not only the general image of that historical event but a penetrating image of any military confrontation of people, in which human victims, losses and tragedies are inevitable. His epitaphs, without doubt, are relevant in our modern context as well. In addition, they demonstrate different sides of writers’ possible participation in the event in dynamics: from war propagandist to quite another estimation of the war due to one’s personal experience. The poetological peculiarity of Kipling’s epitaphs is in his return to the antique tradition of genre interpenetration of epigram and epitaph. That is what makes the writer’s style recognizable as well as his intention not to depict or comment but to “decipher” the living reality in many shades out of which the wholeness of the world is created. In the interpretation of death, the emphasis is shifting from the philosophical to humanitarian and social-political one. Instead of memento mori (transient of earthly existence), Kipling focuses his attention on the violent death during the war (correlating and identifying the image of war and the image of death) which is presented as a vain sacrifice in the name of someone’s interests. Instead of the idea of equality of death and sacrifice or traditional philosophical meditations about death as an eternal peace, a stay in eternity, Kipling gives a whole spectrum of emotional-expressive connotations connected with his perception of the war – fear, horror, murder, sensation of shock got of imagining what the dead thought and felt at the last moment of their life. Kipling’s epitaphs present the dead soldiers’ voices addressed to contemporaries and descendants containing not only their personal experience of some concrete episodes of the war but a generalized summing up of the war with its senseless sacrifices and by that giving a kind of warning to those who are alive. The theme of lies and far-fetched ideals and their illusory character as well as the theme of false patriotism dominates in Kipling’s epitaphs adding the traces of civic lyrics to that genre. The structural basis of epitaphs is a couplet close to the epigram and a quatrain with a philosophical generalization. Irony is recognizable key artistic modus of Kipling with the help of which he creates a certain character type of the real world simultaneously giving his estimation of the emerging concept of the world which he obviously rejects.
14
Lehedza, Anna. "Boims’ epitaph from the chapel of the Holy Trinity and the Passion of the Lord in the context of the evolution of memorial plastic between the 16th and 17th centuries." Bulletin of Lviv National Academy of Arts 49, no. 49 (December 25, 2022): 26–42. http://dx.doi.org/10.37131/2524-0943-2022-49-3.
Full textAbstract:
Basing on the use of principles of a system approach, comparative and historical, semiotic, iconographic, iconic, formal and stylistic methods it has been defined the place and the meaning of Boims’ epitaph from the chapel of the Holy Trinity and the Passion of the Lord in Lviv dealing with the topology of memorial plastics and sculptural portrait’s evolution in the modern West-Ukrainian lands at the border of the 16th and 17th centuries; the paper characterizes image-thematic and artistic peculiarities of a landmark and points out identifications of separate personalities among those who have been specified. The study stresses on the fact that the epitaph combines the features of memorial compositions of family prayer kneeling that was popular in the Polish-Lithuanian Commonwealth of the 1550–1575s, and the adoration of the sacred scene by spouses that is presented as iconographic type developed in the 1600–1625s as the imitation of monumental tombstones of noble families’ representatives. The author suggests that except for J. Pfister's desire to avoid usual decisions, lack of space to place sculpture and customers’ wishes to immortalize all representatives of the genus, the composition tiering has been inspired with single tiered family bourgeois epitaphs in the Polish-Lithuanian Commonwealth and the sculptor's tendency to develop multi-level structures. The research demonstrates the portrait’s development in Lviv sculpture that has proved the subordination of the heraldic program to the psychological features of the depicted personalities, its shift from the reproduction as a part of the ancestral organism (the epitaph of the Sholts-Volfovychs’ family) to the creation of the family image as an emergent unity of individuals, and is a characteristic of Boim’s epitaphs. The author highlights the development of Lviv sculptural portrait presented with the visualization of psychological interconnections of Boim’s family representatives, the expression of the essential one at the moment, the depiction of individual one in the associations with generally cultural and over-timed one. The paper focuses on “a-tectonicity”, “belonging to painting”, and dynamic development of the epitaph’s form especially noticed in a group of “Pieta”. The study highlights the integrity of a composition provided with zigzag baroque rhythm, outlining imaginative triangle with prayerfully folded palms of George and Yadviga Boim and the head of the Mother of God, the contrast of white alabaster and black marble background, stressing on central axis with fragmented Crucifixion, cartouche scrolls, the figure of the blessing Christ. The author suggests the statement about the picture at the second level of the composition that is the first from the inscription, not of the son, but of Pavel Georgy Boim’s brother, and in the series as a whole is the adoration of the Pieta by the sons of the family protoplast. The author points out the deformation of the epitaph’s reception under the conditions of its probable transferring from the original surrounding.
15
Wood, Claire. "Dickens and the Art of Epitaph." Victoriographies 10, no. 3 (November 2020): 248–69. http://dx.doi.org/10.3366/vic.2020.0394.
Full textAbstract:
This essay offers a twofold exploration of the art of epitaph in Charles Dickens's writing. First, it considers the memorial inscriptions that Dickens wrote for friends and family members in light of contemporary debates about epitaph's proper form and function, nuancing understanding of the author's epitaphic aesthetic. Second, it examines the creative potential of epitaph in Dickens's fiction, by tracing the migration of epitaphic text from actual to fictional inscriptions and between paper and stone. In doing so, it argues that for Dickens the art of epitaph is fundamentally carnivalesque, as a supposedly succinct form of death writing generates extended texts and paratexts, new stories, and fresh associations.
16
Bodel, John. "Epitaphs." Classical Review 55, no. 1 (March 2005): 324–26. http://dx.doi.org/10.1093/clrevj/bni178.
Full text
17
harskamp, jaap. "Liquid Epitaphs." Gastronomica 11, no. 2 (2011): 94–101. http://dx.doi.org/10.1525/gfc.2011.11.2.94.
Full textAbstract:
The tradition of composing epitaphs was popular throughout Europe. Religious content was joined by commemoration of a person’s station in life or even commemoration of nonpersons such as dogs. Playfulness and satire were standard elements of epitaphs during the seventeenth and eighteenth centuries. Humor appeared in epitaphs, which became known as “tavern” or “pot poetry” when composed in the convivial company of others. The British Isles has been full of friendships between poets and the keepers of pubs. Many of the first have left us word of the second. Epitaphs remembering landlords, brewers, drinkers, drunkards, and teetotallers make up a genre of their own. A number of those have been collected for the purpose of this essay.
18
Panteleeva, Liliya M. "Stylistic and Semantic Features of Epitaphs (Based on Texts of Provincial Cemeteries in Perm Krai). Part II." Vestnik Tomskogo gosudarstvennogo universiteta, no. 466 (2021): 16–27. http://dx.doi.org/10.17223/15617793/466/2.
Full textAbstract:
The second part of the article describes semantic features of folklore epitaphs - the most numerous collection in the corpus of poetic inscriptions, which is based on field surveys of Perm cemeteries. The denotative space of folklore epitaphs has undoubted significance for characterizing the mental categorization of the world among representatives of urban culture since it reveals the worldview of city dwellers in the field of eschatological issues. The analysis of the denotative content of folklore epitaphs comes down to the identification of textual universals - “space”, “time”, “person”. The procedure for their characterization involves the definition and semiotic interpretation of the circle of vocabulary with the corresponding denotation - spatial, temporal, subjective. The analysis of the material showed that the spatial coordinates of the folklore epitaphs are set by the oppositions earth - sky and this world - that world. The movement of time is predominantly inscribed in a linear extent and is occasionally delivered vitally. The main subjects of communication are the “living” and the “dead” despite the fact that the content bias is towards the “dead”. The “dead” have social, emotional and external characteristics, and are also attributed to the type of death, the posthumous hypostasis and its signs. The “living” are only awarded cognitive-psychological portraiture. The denotative space of the text is interfaced with other levels of content - emotive and conceptual. In the emotive space of epitaph texts, the sensitivity of the “living” is characterized by love, sorrow, sadness, pride, longing, guilt, grief, pain, wound, flour, tears, and the “dead” only by love. At the conceptual level, the symbolism captured in the cemetery texts attracts attention. It includes the following linguistic and cultural signs: angel, birch, wind, eternity, city, door, house, soul, living, life, star, earth, dead, grave, heaven, peace, light, tears, death, dream, that world, grass, care, flower, this world. Their cohesion is determined by the entry into the semantic oppositions earth - sky, this - that, living - dead, life - death, light - dark. However, the text “charge” of these symbols is not the same. The nuclear vocabulary of the statistical measurement of texts, the development of emotive content, as well as the thematic elaboration of the subject category suggest that the core of the epitaphs is the category of the living and the dead. The remaining symbolism is built on this basis and contributes to its conceptualization in texts. The described semantic categories of folklore epitaphs reproduce mainly the Christian model of the universe with its three-part spatial structure, linearity of time, the posthumous life of the soul and its ability to shine. The inclusions of pagan nature in the revealed picture are almost invisible - these are the once-indicated repeatability of time and the possibility of returning to the world in other forms.
19
Fedotova, Marina. "ON AN EPITAPH TO DIMITRY OF ROSTOV (ON THE HISTORY OF THE EPITAPH’ GENRE IN THE 18TH СENTURY)." Проблемы исторической поэтики 19, no. 4 (December 2021): 190–214. http://dx.doi.org/10.15393/j9.art.2021.9743.
Full textAbstract:
The article analyzes an epitaph dedicated to Dimitry of Rostov. It was written in Ukraine after the death of the metropolitan in 1709, but before his official canonization in 1757. Unlike the two other well-known epitaphs dedicated to Saint Dimitry (the funeral oration by Stephen Yavorsky and the inscription by Michail Lomonosov engraved on the silver icon case of his tomb complex), this text, which belongs to the syllabic epitaph genre, was an inscription under Dimitry’s lifetime portrait that was kept in the Novgorod-Seversky monastery. This epitaph, like the first two texts, can be clearly characterized as a baroque text, however, it differs significantly from them in content and style. It reflects other artistic phenomena of baroque poetics and has the features of synthesis, a combination of an iconographic image and signature, illustrations and text, words and images. The portrait-icon with verses was delivered to Rostov to metropolitan Arseny (Matseevich) through Fyodor Dubyansky, the confessor of Empress Elizabeth Petrovna. For a long time, it was preserved at the tomb of St. Dimitry in the interior of the Trinity (Conception) monastery. This epitaph reflects the Ukrainian tradition, in which portraits with epitaphs were hung at the graves of bishops and churchwardens. Who was the author of this epitaph to Dimitry of Rostov? It was most certainly a representative of the Ukrainian elite who knew Dimitry’s biography very well. Perhaps it was Ioann (Maksimovich), the future metropolitan of Tobolsk. The location of the original icon with the inscription is unknown, but a copy has survived in the museum of the Kiev-Pechersk monastery. However, this epitaph continued to exist in the written tradition. Several copies of it are known, and its text was reproduced and perceived separately from the iconographic model as a hagiographic text. It served, in turn, as a source of other such texts dedicated to Dimitry of Rostov and created after his canonization. The subsequent fate of this epitaph is also associated with the phenomena of the new cultural epoch, in which different types of art did not merely complement each other, but also led to the expansion of artistic expression, to the creation, interaction and interchangeability of new artistic forms, evolution of genre, which are undoubtedly important for the studying the genre poetics of the 18th century.
20
OSBORNE, M. J. "Attic Epitaphs." Ancient Society 19 (January 1, 1988): 5–60. http://dx.doi.org/10.2143/as.19.0.2011342.
Full text
21
Murgatroyd, P. "More Epitaphs." Mouseion: Journal of the Classical Association of Canada 7, no. 3 (2007): 284–86. http://dx.doi.org/10.1353/mou.0.0041.
Full text
22
Meyer, Elizabeth A. "Explaining the Epigraphic Habit in the Roman Empire: The Evidence of Epitaphs." Journal of Roman Studies 80 (November 1990): 74–96. http://dx.doi.org/10.2307/300281.
Full textAbstract:
It is now notorious that the production of inscriptions in the Roman Empire was not constant over time, but rose over the first and second centuries A.D. and fell in the third. Ramsay MacMullen pointed this out more than five years ago, with conclusions more cautionary than explanatory: ‘history is not being written in the right way’, he said, for historians have deduced Rome's decline from evidence that–since it appears only epigraphically–has merely disappeared for its own reasons, or have sought general explanations of decline in theories political, economic, or even demographic in nature, none of which can, in turn, explain the disappearance of epigraphy itself. Why this epigraphic habit rose and fell MacMullen left open to question, although he did postulate control by a ‘sense of audience’. The purpose of this paper is to propose that this ‘sense of audience’ was not generalized or generic, but depended on a belief in the value of romanization, of which (as noted but not explained by MacMullen's article) the epigraphic habit is also a rough indicator. Epitaphs constitute the bulk of all provincial inscriptions and in form and number are (generally speaking) the consequence of a provincial imitation of characteristically Roman practices, an imitation that depended on the belief that Roman legal status and style were important, and that may indeed have ultimately depended, at least in North Africa, on the acquisition or prior possession of that status. Such status-based motivations for erecting an epitaph help to explain not only the chronological distribution of epitaphs but also the differences in the type and distribution of epitaphs in the western and eastern halves of the empire. They will be used here moreover to suggest an explanation for the epigraphic habit as a whole.
23
Chrobot, Agata, and Jacek Pielas. "Das Bild der tugendhaften Frau als Ehefrau und Mutter in ausgewählten lateinsprachigen Epithalamien und Epitaphien des 16. Jahrhunderts." Studia Historica Gedanensia 14 (December 21, 2023): 50–69. http://dx.doi.org/10.4467/23916001hg.23.006.18807.
Full textAbstract:
A Virtuous Woman in the Renaissance In this article, I analyze selected texts of epithalamia and epitaphs, on the basis of which we can conclude that it is no accident that male poets paid so much attention to women in these two genres. This is so because in wedding songs they needed a virtuous wife, and in funeral songs they had to prove that they had found one. In both types of works, the catalogue and the laudatio of female virtues are very similar. The difference is visible in the description of appearance, which in epitaphs is of secondary importance, because the body disintegrates after death, unlike the immortal soul. In the sixth epitaph to Elżbieta Szydłowiecka, Piotr Rojzjusz emphasizes the grace and beauty of the deceased, but puts them between two other virtues: kindness and holiness. All virtue lay at rest in the grave with this beautiful woman. The funeral laudatio coincides with the laudatio in wedding songs. The woman was to be the model of a good wife, a mother, and a Christian. The topos of the good wife required of her: good birth, love for her husband, piety, decency, honesty, modesty, unconditional obedience to her husband, and lack of a quarrelsome disposition (the epitaphs lack pulchra and pecuniosa). The topos of a good mother, however, includes giving birth and raising children. A good mother had to be pious, modest, and caring for her family and children. In each of these roles, the description of virtues is strongly prescriptive. A woman becomes a being programmed by nature and patriarchal society to fulfill the role of an obedient daughter, a virtuous wife, a caring mother, and a good housewife.
24
Сиренов, А. В. "Epitaph of Alexander Nevsky's mother in Novgorod and Vladimir." Architectural archeology, no. 4 (February 12, 2023): 215–19. http://dx.doi.org/10.25681/iaras.2022.978-5-94375-371-8.215-219.
Full textAbstract:
Статья посвящена надписям над погребением матери Александра Невского княгини Феодосии. Она была похоронена в Георгиевском соборе новгородского Юрьева монастыря, но в XVI в. ошибочно полагали, что местом ее погребения является Георгиевская церковь города Владимира. В XVIII в. и в новгородском Георгиевском соборе, и во владимирской Георгиевской церкви имелись надгробные надписи о погребении княгини Феодосии. Источником этих надписей является текст Степенной книги. Вероятно, что их составление с использованием одного источника было независимым и относится ко второй половине XVII в. или, что вероятнее, к XVIII в. The article is devoted to the epitaph over the burial of Alexander Nevsky's mother, Princess Feodosia. She was buried in St. George's cathedral of Yuriev monastery in Novgorod, but in the 16th century, she was mistakenly believed to be buried in St. George's church in the city of Vladimir. In the 18 century both in Novgorod St. George's cathedral and in Vladimir St. George's church there were tombstones with epitaphs witnessing that Princess Feodosia was buried there. The source of these epitaphs was the text of the book containing the genealogies of the Russian princes and czars. Their compilation using the same source was likely to be independent from each other. Both supposedly date back to the second half of the 17th century, or, more likely, the 18th century.
25
Leybenson, Yu T. "GRAVESTONES OF THE XIX – EARLY XX CENTURIES OF TWO OLD BAKHCHYSARAI CEMETERIES." Scientific Notes of V.I. Vernadsky Crimean Federal University. Historical science 7 (73), no. 3 (2021): 72–86. http://dx.doi.org/10.37279/2413-1741-2021-7-3-72-86.
Full textAbstract:
The article is devoted to the study of tombstones of the XIX – early XX centuries in the city of Bakhchysarai originating from two necropolises from the cemetery on Partisanskaya Street and from the so-called Russian Settlement. They are a vivid example of provincial Christian cemeteries. The author describes the history of the study of necropolises, their current state and problematic protection issues. It is important to note that during the work the time of foundation of the Bakhchysarai civil necropolis (on Partizanskaya Street) was specified – no later than 1813. The most interesting epitaphs are also given, testifying to the Greek employees of the Greek Battalion of Balaklava and participants in the Crimean War. An important feature is that the article contains translations of Greek epitaphs, including those compiled in honor of immigrants from Trebizond and the Chios island. The author considers epitaphs reflecting the social status, ranks of the state civil service of persons buried in Bakhchysarai. The practice of using common epitaphs and borrowing poetic texts of epitaphs on later tombstones was analyzed. Frequent and rare forms of gravestone monuments are considered too.
26
Ueda, Kiheinarichika. "The Genealogy in the Koguryŏ Diaspora’s Epitaph." International Journal of Korean History 27, no. 2 (August 31, 2022): 31–72. http://dx.doi.org/10.22372/ijkh.2022.27.2.31.
Full textAbstract:
This study investigates the genealogies in Koguryŏ epitaphs, patterns them, and analyzes their changes over time. The Koguryŏ diaspora occurred during the Unification War under Silla. This study focuses on the Koguryŏ diaspora among the Tang who migrated to China. First, this study summarizes the research on genealogies of the Koguryŏ diaspora's epitaphs and indicates their problems. Second, it confirms the definition of the Koguryŏ diaspora and reviews the number of epitaphs. Third, it categorizes genealogies and analyzes their changes. Finally, this study clarifies the causes of the changes in the genealogies.
27
Nosonovsky, M. "НАДГРОБНЫЕ НАДПИСИ НА ДРЕВНЕЕВРЕЙСКОМ ЯЗЫКЕ ИЗ РЕГИОНA РАЙСН (БЕЛАРУСЬ И УКРАИНА)." Proceedings in Archaeology and History of Ancient and Medieval Black Sea Region, no. 13 (February 15, 2022): 954–70. http://dx.doi.org/10.53737/2713-2021.2021.25.38.036.
Full textAbstract:
Hebrew gravestone inscriptions from Jewish cemeteries from the region called Raysn (mostly in current Belarus and partially in Ukraine) are studied as a historical source and a literature genre. The epitaphs express the idea of a connection between the ideal world of Scripture and religious Hebrew books and the world of everyday life of a shtetl or community. This can be traced at several levels. First, at the level of inscriptions’ structure, the epitaph includes an indication of the place (“here lies”), time (date), and name, thus tying the deceased to a specific “coordinate system”. Second, biblical quotations emphasize the relation of a particular life and death to the situation with that described in the Bible. Third, at the language level, despite the fact that epitaphs are almost always written in Hebrew and not in Yiddish, we are dealing with certain features of Hebrew—Yiddish bilingualism. Hebrew terms could simultaneously be Yiddish lexemes. We observe orthography code-switching between Hebrew consonant spelling and Yiddish phonetic spelling, depending on whether the concept is found in Hebrew holy books or in everyday life. Fourth, epitaphs occupy an intermediate position between the “high”, author's literature and canonical religion, on the one hand, and folk literature and religion, on the other hand. The difference between the epitaphs from Ukraine and Belarus is discussed. Надгробные надписи на иврите с еврейских кладбищ из района Райсн (в основном на территории современной Беларуси и Украины) рассматриваются и изучаются как исторический источник и литературный жанр. Эпитафии выражают идею связи между идеальным миром Священного Писания и религиозных книг на иврите и миром повседневной жизни местечка или общины. Это прослеживается на нескольких уровнях. Во-первых, на уровне структуры надписей эпитафия включает указание места («здесь лежит»), времени (даты) и имени, тем самым привязывая покойного к определенной «системе координат». Во-вторых, библейские цитаты подчеркивают связь конкретной жизни и смерти с ситуацией, описанной в Библии. В-третьих, на уровне языка, несмотря на то, что эпитафии почти всегда пишутся на иврите, а не на идише, мы имеем дело с некоторыми особенностями двуязычия иврит—идиш. Термины на иврите могут одновременно быть лексемами идиша. Мы наблюдаем переключение орфографического кода между консонантной орфографией иврита и фонетическим написанием на идиш, в зависимости от того, встречается ли понятие в священных книгах или в повседневной жизни. В-четвертых, эпитафии занимают промежуточное положение между «высокой», авторской литературой и канонической религией, с одной стороны, и народной литературой и религией, с другой. Обсуждается разница между эпитафиями из Украины и Беларуси.
28
Hicks, Megan. "City of Epitaphs." Culture Unbound 1, no. 2 (December 21, 2009): 453–67. http://dx.doi.org/10.3384/cu.2000.1525.09126453.
Full textAbstract:
The pavement lies like a ledger-stone on a tomb. Buried underneath are the remains of fertile landscapes and the life they once supported. Inscribed on its upper side are epitaphic writings. Whatever their ostensible purpose, memorial plaques and public artworks embedded in the pavement are ultimately expressions of civic bereavement and guilt. The pavement’s role as both witness and accomplice to fatality is confirmed by private individuals who publicize their grief with death notices graffitied on the asphalt. To walk the city is to engage in a dialogue about death.
29
Jutroni´, Dunja. "Epitaphs and Metaphors." Metaphor and Symbol 14, no. 3 (July 1999): 221–28. http://dx.doi.org/10.1207/s15327868ms140304.
Full text
30
Mumford, Alan. "Learning Styles Epitaphs." Management Education and Development 22, no. 1 (April 1991): 23. http://dx.doi.org/10.1177/135050769102200103.
Full text
31
Howlett, David R. "Two Latin Epitaphs." Archivum Latinitatis Medii Aevi 67, no. 1 (2009): 235–47. http://dx.doi.org/10.3406/alma.2009.1042.
Full text
32
Wang, Lianlong. "Taoist Death Care in Medieval China—An Examination of Wu Tong’s (吳通) Epitaph." Literature 3, no. 4 (November 28, 2023): 473–81. http://dx.doi.org/10.3390/literature3040032.
Full textAbstract:
Survival and death are the two most important things in life. The ancient Chinese people attached great importance to death, so the funeral ceremonies were very complete. Since its inception, Taoism has actively participated in funeral activities, so the combination of epitaphs and tomb inscriptions has a historical origin. The establishment of a unified dynasty in the Sui Dynasty provided an opportunity for the integration and development of Taoism in the north and south. The Mao Shanzong (茅山宗) in the southern region began to spread to the north, gradually integrating Lou Guan Dao (樓觀道) and becoming the mainstream of Northern Taoism. The epitaph of Wu Tong in the Sui Dynasty is engraved with rich Taoist symbols, and the epitaph text adopts the language content of “Zhen Gao” (真誥), which is a typical representative of the integration of Northern and Southern Taoism and reflects Taoism’s concern for death.
33
Obrador-Cursach, Bartomeu. "The closing formula of the Old Phrygian epitaph B-07 in the light of the Aramaic KAI 318: a case of textual convergence in Daskyleion." Anatolian Studies 71 (2021): 47–58. http://dx.doi.org/10.1017/s0066154621000041.
Full textAbstract:
AbstractAfter an overview of the multilingual epigraphy of Daskyleion during the Achaemenid period, this paper focuses on the closing formula shared by the Aramaic KAI 318 and the Old Phrygian B-07 epitaphs, which consists of a warning not to harm the funerary monument. Comparison of the two inscriptions sheds light on the cryptic Old Phrygian B-07, the sole Old Phrygian epitaph known. As a result, the paper provides new Phrygian forms, like the possible first-person singular umno=tan, ‘I adjure you’, and a new occurrence of the Phrygian god Ti-, ‘Zeus’, together with a second possible occurrence of Devos, ‘God’, equated to Bel and Nabu of the Aramaic inscription.
34
Zhou, Kun. "The Influence of Jiangnan Epitaphs in Song Dynasty on Goryeo Epitaphs." CHUNGGUKSA YONGU (The Journal of Chinese Historical Researches) 142 (February 28, 2023): 91–125. http://dx.doi.org/10.24161/chr.142.91.
Full text
35
Boyaval, Bernard. "Onze notes égyptiennes." Kentron 15, no. 1 (1999): 75–89. http://dx.doi.org/10.3406/kent.1999.1607.
Full textAbstract:
Gèrokomia on the Greek epitaphs from Egypt/ About few sites in the district of Panapolis/ Philogeitôn/ Supplement on the funeral data of Kom Abou Billou/ About the chronology of the epitaphs from Kom Abou Billou/ About the death of a girl/ Six fragments of texts pending/ S B I, 3944/ Lefebvre 689-690/ Sammelbuch VI, 9601, 1-7/ About a label from the Queens Valley.
36
Yao, Ping. "Good Karmic Connections: Buddhist Mothers in Tang China." NAN NÜ 10, no. 1 (2008): 57–85. http://dx.doi.org/10.1163/138768008x273719.
Full textAbstract:
AbstractThis essay examines the women's role in Chinese Buddhism through a close reading of epitaphs from the Tang dynasty (618-907). During this period, more than ever before, the religion became instrumental in the development of mothers' identity and in the conceptualization of ideal maternal virtues. According to many Tang dynasty epitaphs (muzhi ming), it would appear that children of Buddhist mothers largely complied with their mothers' desire to leave the household life or to be cremated rather than buried after her death. They were also much more likely than children of Buddhist fathers to become Buddhist believers themselves. What these epitaphs show is that Tang mothers played a vital role in the continuing sinification of Buddhism through the spread of religious devotion and practice in the domestic sphere.
37
Pekić, Radmilo. "Knez Pokrajac Oliverovic: A Contribution to his identification." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 1 (2021): 159–76. http://dx.doi.org/10.5937/zrffp51-28691.
Full textAbstract:
One of the well known medieval epitaphs of Bosnia and Herzegovina is located on the medieval tombstone - a stećak located in countryside Vrpolje in Ljubomir near Trebinje. The epitaph signifies grave site of prince Pokrajac Oliverovic, subject of Duke Sandal Hranic, about whom is known nothing except that. Based off of Dubrovnik resources it has been established that in the Ljubomir were inhabited Vlachs Burmaz from which stood out katun Dermanovic, named after theirs elder katunar Derman. His heir was Oliver Dermanovic. In following period in Dubrovnik resources is mentioned Pokrajac Oliverovic Vlach Dermanovic, nobleman from Ljubomir, most likely son and heir of already mentioned Oliver Dermanovic. Time and place of his life testify to be about Princeps Pokrajac Oliverovic, subject of Duke Sandal Hranic, who was buried in Vrpolje in Ljubomir, whose medieval monumenta stećak with imposing epitaph has been preserved to this day. Pokrajac Oliverovic died between 1429 and 1435. In following time in Ljubomir is mentioned nobleman who bore a patrimonial surname Pokrajchic after his father.
38
Gee, Lisa. "‘A Task enough to make one frantic’: William Hayley’s Memorialising." European Journal of Life Writing 9 (July 6, 2020): LW&D35—LW&D55. http://dx.doi.org/10.21827/ejlw.9.36899.
Full textAbstract:
This paper explores Hayley’s approach to, and writing about, memorialising, focusing on his manuscript collection of epitaphs, his letters to Anna Seward about her epitaph on Lady Miller, and his memoirs and biographies. How typical was he of late-eighteenth and early-nineteenth century memorialists? What does his writing about death—and his writing about writing about death—tell us about how his contemporaries were supposed to feel and express their feelings about the dead? How do his works illustrate what he and his contemporaries were expected to reveal or conceal about the dead, and about the living? How different, in that respect, were the works designed to be read by the public from those intended only for the deceased’s nearest and dearest? How did the author’s death change the expected readership?
39
Martin, Christopher, Barnabe Googe, and Judith M. Kennedy. "Eclogues, Epitaphs and Sonnets." Sixteenth Century Journal 22, no. 1 (1991): 114. http://dx.doi.org/10.2307/2542021.
Full text
40
Sheidley, William E., Barnabe Googe, and Judith M. Kennedy. "Eclogues, Epitaphs, and Sonnets." Sixteenth Century Journal 22, no. 2 (1991): 393. http://dx.doi.org/10.2307/2542770.
Full text
41
Hamilton, Val. "Epitaphs: A Dying Art." Reference Reviews 31, no. 4 (May 15, 2017): 37–38. http://dx.doi.org/10.1108/rr-02-2017-0032.
Full text
42
Renée Fox. "Michael Longley’s Early Epitaphs." New Hibernia Review 13, no. 2 (2009): 125–40. http://dx.doi.org/10.1353/nhr.0.0084.
Full text
43
Grennan, Eamon. "A Lack of Epitaphs." Missouri Review 10, no. 3 (1987): 26. http://dx.doi.org/10.1353/mis.1987.0098.
Full text
44
Béraud, Marianne. "Dédier comme une mère. Autour des stratégies maternelles dans l’épigraphie à partir des inscriptions des provinces nord-occidentales." Vita Latina 187, no. 1 (2013): 293–318. http://dx.doi.org/10.3406/vita.2013.1767.
Full textAbstract:
By studying epigraphic material in Roman Northern West, it is to be noticed specificities in mother’s speech. This paper attempts to establish the strategy followed by the mothers to commemorate the memory of their children. This work consists in a study of lexicon and formulas of the inscribed material in order to bring to light the criteria which govern the epitaphs written by mothers. Through the prism of epitaphs, the purpose is to distinguish between epigraphic practices of the father and the mother. Besides, these tombstones developed a motherly identity based on the fact that women claimed the status of mother. They preferred to call themselves «mater » rather than «coniux » . Gender is a key factor to understand the role of the mothers in the roman family. Depending on whether the dedicant is the father or the mother, the epitaphs are imbued with a sexed speech which delivers information on male or female dimension of the dedication.
45
Avdeyev, Aleksandr G. "The patrimonial tomb of the Gotovtsevs in the village of Likurga: preliminary results of the study." Vestnik of Kostroma State University, no. 2 (2019): 8–13. http://dx.doi.org/10.34216/1998-0817-2019-25-2-8-13.
Full textAbstract:
The paper, written in the framework of the CIR project (Corpus of Russian inscriptions / Corpus Inscriptionum Rossicorum), summarises the preliminary results of the study of the complex of white stone tombstones from the unique historical, cultural and architectural monument of the late 17th century – the ancestral tomb of the Gotovtsevs, Galich noble family in the village of Likurga of Buy district of Kostroma Region. It has preserved 11 white stone tombstones with epitaphs, the earliest of which dates the late 16th to the early 17th century, while the latest, 1725. The inscriptions on the tombstones contain important material on the genealogy of Galich branch of the noble family of the Gotovtsevs, up to its suppression in the fi rst quarter of the 18th century. The Annex to the paper publishes the oldest tombstone with the epitaph to Davyd Urakov, son of Gotovets.
46
Kelmelytė, Gražina. "The Concept of Bridal Chamber in the Valentinian Inscriptions." Literatūra 62, no. 3 (December 14, 2020): 78–92. http://dx.doi.org/10.15388/litera.2020.3.5.
Full textAbstract:
This article investigates the Valentinian ritual, called “bridal chamber”, in the only surviving Valentinian funeral epitaphs, Flavia Sophe and NCE 156. These inscriptions stand out from the context of other Valentinian sources because they are extant in the Ancient Greek, not the Coptic language. Bridal chamber is a polysemous concept in the Nag Hammadi texts, and therefore begs the question, what does it mean in the Valentinian funeral epitaphs? Furthermore, this article is an attempt to elucidate the connections between the two inscriptions by interpreting the concept of bridal chamber.
47
Carlsen, Jesper. "Familie og følelser i det romerske Kartago." Slagmark - Tidsskrift for idéhistorie, no. 80 (February 20, 2020): 53–68. http://dx.doi.org/10.7146/slagmark.vi80.136320.
Full textAbstract:
This article discusses the epitaphs with epithets from two burial grounds at Carthage excavated by Alfred-Louis Delattre in the last decades of the 19th century. He found more than 900 Latin inscriptions that can be dated between the late first century and the early third century CE. Most of those buried at the so-called ‘cimetières des officiales’ were imperial slaves and freedmen together with their relatives and include almost 1300 individuals. Epithets occur just in about sixty epitaphs or about 6 % of the inscriptions from the imperial burial grounds at Carthage. The inscriptions are mostly short with certain conventions. The employment of epithets characterized the moral qualities of the commemorated seen from the commemorator’s point of view and is an expression of feelings, emotions and grief. The epitaphs from Carthage come from a well-defined context within a well-defined group, which may share the same feelings and be called an emotional community. The analysis of the most common epithets demonstrates remarkable differences between their use at Carthage and in the funerary inscriptions found in Rome.
48
Avdeev, A. G. "ON THE DATE OF BIRTH OF PATRIARCH HADRIAN OF MOSCOW AND ALL RUSSIA." Bulletin of Nizhnevartovsk State University, no. 3 (December 15, 2019): 88–93. http://dx.doi.org/10.36906/2311-4444/19-3/12.
Full textAbstract:
The Russian historiographic sources recognize three probable birth dates of Hadrian, the last Patriarch of Moscow and all Russia in 17th century, i.e.1627, 1637 and 1639. The fourth date, 1636, is not widely recognized. Two epitaphs to the Patriarch Hadrian, both written by Karion Istomin, a major court poet of that time, serve as the main source of information about the life of the head of the Russian Church. The first epitaph is prosaic, mounted on his tomb in the shrine of the heads of the Russian Church in the Assumption Cathedral in the Moscow Kremlin, and the second is poetic, preserved in the papers of the poet. . This paper establishes that the cause of chronological differences were errors in reading and interpreting the date of the Patriarch's death in the prosaic epitaph, which were made in historical studies of the 19th - early 20th century and without cross-checking with the gravestone inscription were reproduced in various publications. A visual study of the prosaic epitaph, conducted by the author in March 2014, indicates that Patriarch Hadrian died on October 2, 1700 at the age of 62 . The same date is written in the poetic epitaph. The “birthday” of Patriarch Hadrian (October 2), also raises doubts; most likely this date originated in the 19th century on the basis of the day of his baptism. The conducted research on the base of combination of archival sources and critical analysis of the writings of historians of the 19th - early 20th centuries established that Patriarch Hadrian was born in 1638.
49
백미나. "Introspection on theories constructing epitaphs." Review of Korean Cultural Studies ll, no. 33 (May 2010): 3–30. http://dx.doi.org/10.17329/kcbook.2010..33.001.
Full text
50
Davidson, Donald. "'A Nice Derangement of Epitaphs'." Slagmark - Tidsskrift for idéhistorie, no. 25 (February 4, 2018): 57–74. http://dx.doi.org/10.7146/sl.v0i25.103806.
Full text