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Relevant bibliographies by topics / Serpant imagery

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Academic literature on the topic 'Serpant imagery'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "Serpant imagery"

1

Lepper, Bradley T., James R. Duncan, Carol Diaz-Granádos, and Tod A. Frolking. "Arguments for the Age of Serpent Mound." Cambridge Archaeological Journal 28, no. 3 (2018): 433–50. http://dx.doi.org/10.1017/s095977431800001x.

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Serpent Mound, in northern Adams County, Ohio, USA, is one of the most iconic symbols of ancient America and yet there is no widely agreed upon date for the age of its original construction. Some archaeologists consider it to have been built by the Adena culture around 300bc, while others contend it was built by the Fort Ancient culture aroundad1100. There have been three attempts to obtain radiometric ages for the effigy, but they have yielded inconclusive results. The iconography of the earthwork offers an alternative means of placing the mound in its cultural context. Serpent imagery is abu

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Pugh, Timothy W. "FLOOD REPTILES, SERPENT TEMPLES, AND THE QUADRIPARTITE UNIVERSE." Ancient Mesoamerica 12, no. 2 (2001): 247–58. http://dx.doi.org/10.1017/s0956536101122042.

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Mayapan, Yucatan, Mexico, was the most prominent Maya ceremonial center from the mid-thirteenth to the mid-fifteenth century. The city was a religious center for surrounding Maya populations. Its construction was linked through cyclical reasoning to a chain of antecedent centers, the ultimate link of which lay in creation. In the heart of Mayapan lay its exemplary center, an architectural model of cosmogony composed of five temple assemblages. The central building of each assemblage was a temple decorated with serpent imagery. These five serpent temples were depicted on a mural in Structure Q-

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Miglio, Adam E. "Imagery and Analogy in Psalm 58:4-9." Vetus Testamentum 65, no. 1 (2015): 114–35. http://dx.doi.org/10.1163/15685330-12341187.

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This article treats the images and logic of Ps 58:4-9. Drawing on Stanley Tambiah’s work on “performative analogies,” it compares the images of serpents and unborn children as well as the ways in which these images are used in Ps 58 with incantations from Syro-Mesopotamia. It focuses on the similarities between Ps 58 and Syro-Mesopotamian incantatory traditions, emphasizing how the latter serves as a catalyst for understanding Ps 58 as a YHWHistic religio-magical expression.

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Heath, John. "The serpent and the sparrows: Homer and the parodos of Aeschylus’ Agamemnon." Classical Quarterly 49, no. 2 (1999): 396–407. http://dx.doi.org/10.1093/cq/49.2.396.

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The Homeric influence on two prominent avian images in the parodos of the Agamemnon—the vulture simile (49–50) and the omen of the eagles and the pregnant hare (109–10)—has long been noted. In 1979 West suggested that the animal imagery also derived in part from Archilochus’ fable of the fox and the eagle (frr. 172–81 West), and his discussion was quickly welcomed and supplemented by Janko's reading of the eagle and snake imagery used by Orestes at Cho. 246–7. Capping this triennium mirabile of critical interest in Aeschylus’ birds of prey, Davies argued that the convincing resemblances betwee

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Milco, Katherine E. "Mulieres viriliter vincentes: Masculine and Feminine Imagery in Augustine’s Sermons on Sts. Perpetua and Felicity." Vigiliae Christianae 69, no. 3 (2015): 276–95. http://dx.doi.org/10.1163/15700720-12341216.

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This paper argues that Augustine makes use of two principal images in his four extant sermons on Perpetua and Felicity: the masculine image of the combatant, who engages in spiritual warfare with the devil, and the feminine image of the mother, who tramples the diabolical serpent through childbirth. This paper makes the case that in styling the martyrs as combatants and mothers Augustine develops images that first appear in their third-century Passio. This thesis challenges the scholarly consensus which claims that Augustine departs from the content of their Passio in order to present these wo

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Ringle, William M. "THE ART OF WAR: IMAGERY OF THE UPPER TEMPLE OF THE JAGUARS, CHICHEN ITZA." Ancient Mesoamerica 20, no. 1 (2009): 15–44. http://dx.doi.org/10.1017/s0956536109000030.

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AbstractThis paper reexamines the art and architecture of the Upper Temple of the Jaguars, Chichen Itza, in light of new unpublished digital images of Adela Breton's copies of the murals. Following discussion of the construction date of the building and previous interpretations of the murals, examination of costume, setting, and house form suggests that rather than depicting mythic or symbolic episodes, these murals illustrate actual military encounters between Chichen and its enemies. The occasion for their production seems to be the utilization of the Upper Temple of the Jaguars by a specifi

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Rice, Prudence M. "CONTINUITIES IN MAYA POLITICAL RHETORIC: K'AWIILS, K'ATUNS, AND KENNINGS." Ancient Mesoamerica 23, no. 1 (2012): 103–14. http://dx.doi.org/10.1017/s0956536112000077.

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AbstractClassic hieroglyphic texts do not describe Maya political organization, nor do colonial documents, forcing archaeologists to look elsewhere for clues. I propose that continuities in calendrically-based geopolitical rhetoric are recognizable in imagery and literary devices that can be traced from Preclassic/Formative times into the Colonial period. Imagery revolves around God K, k'awiil, and manikin scepters. The Classic manikin scepter materializes God K/K'awiil as a symbol of legitimate rulership, particularly at accession; the Postclassic analogue in the Dresden and Paris Codices is

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Korpman, Matthew J. "Dan Shall Judge: The Danites and Iron Age Israel’s Connection with the Denyen Sea People." Journal for the Study of the Old Testament 44, no. 3 (2020): 490–99. http://dx.doi.org/10.1177/0309089218778583.

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The Tribe of Dan has always appeared to biblical scholars and archaeologists as something of an enigma. For decades, certain scholars, beginning with Yigael Yadin, have proposed a connection between the Denyen/Danaoi Sea People and the Danites of Ancient Israel, arguing that the former became the latter and were adopted into Israel at a later date than the other 11 tribes. Focusing on recent archaeological excavations at Tel Dan and the connections between Samson and Hercules, with special attention specifically given to Dan’s traditional paired imagery with serpents, this study seeks to prese

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Milbrath, Susan. "MAYA ASTRONOMICAL OBSERVATIONS AND THE AGRICULTURAL CYCLE IN THE POSTCLASSIC MADRID CODEX." Ancient Mesoamerica 28, no. 2 (2017): 489–505. http://dx.doi.org/10.1017/s0956536117000189.

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AbstractResearch presented here demonstrates that an unusual almanac in the Madrid Codex (pages 12–18) integrates observations of the Venus cycle with eclipse events in the context of the agricultural year. Imagery in the 260-day almanac represents eclipse glyphs associated with Tzolkin dates that coordinate with eclipses visible in Yucatan during the fifteenth century, indicating the almanac dates to the Late Postclassic. The almanac also depicts seasonal events in the context of a repeating pattern of paired solar eclipses associated with observations of Venus as the evening star. Quetzalcoa

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Math, Kathryn. "Fang and Feather: The Origin of Avian-Serpent Imagery at Teotihuacan and Symbolic Interaction With Jaguar Iconography in Mesoamerica." Journal of Purdue Undergraduate Research 7 (August 31, 2017): 18–26. http://dx.doi.org/10.5703/1288284316393.

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Dissertations / Theses on the topic "Serpant imagery"

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McFarland, Darin J. "Serpent imagery in Revelation 12:7-12." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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Dasteridou, Magdalini. "Fear and Healing Through the Serpent Imagery in Greek Tragedy." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078361.

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This work explores how the tragic poets, by means of snake imagery, convey the notion of disease. Moreover, it examines how snake imagery contributes to the process of healing through the emotion of fear that it triggers. My analysis of the tragedies in which the three main tragedians employ snake imagery builds upon findings from ancient authors that refer to snakes and their characteristics, and upon the findings of contemporary scholars. My overall method relies on tools from structuralism and psycholinguistics. Through snake imagery the tragic poets portray disease as it manifests itself t

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Colette, Shelly Carmen. "The Garden, the Serpent, and Eve: An Ecofeminist Narrative Analysis of Garden of Eden Imagery in Fashion Magazine Advertising." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/22908.

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Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden confla

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Leung, Donmienne Doen Mun. "Studies of serine and cysteine protease inhibitors /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16491.pdf.

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Haj, Hassan Hawraa. "Détection et classification temps réel de biocellules anormales par technique de segmentation d’images." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0043.

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Le développement de méthodes de la détection en temps réel de cellules anormales (pouvant être considérées comme des cellules cancéreuses) par captures et traitements bio-images sont des axes de recherche importants dans le domaine biomédical car cela contribue à diagnostiquer un cancer. C’est dans ce contexte que se situe ces travaux de thèse. Plus précisément, les travaux présentés dans ce manuscrit, se focalise sur le développement de procédures de lecture, de détection et de classification automatiques de bio-images de cellules anormales considérées comme des cellules cancéreuses. Par cons

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Venorsky, Sarah Jean. "VISUAL REPRESENTATIONS OF ADAM AND EVE:AN ICONOGRAPHICAL STUDY OF MEDIEVAL AND RENAISSANCE IMAGES CONCERNING GENESIS 1-3." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470076561.

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Gonçalves, António José Pereira. "Deteção e identificação de ameaça biologicamente relevante: um estudo com image morphing." Master's thesis, 2018. http://hdl.handle.net/10437/9471.

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Orientação: Pedro Rosa<br>Os estímulos de carácter ameaçador são preferenciais para captar atenção, o que faz com que estes sejam processados prioritariamente e de forma mais eficiente segundo, Öhman, Flykt & Esteves, (2001a). As cobras segundo Isbell, (2009), são considerados estímulos de ameaça, o que faz desencadear uma resposta de medo de forma automática (LeDoux, 1996). Estudos reforçam a existência do viés da negatividade, especialmente associado aos estímulos ameaçadores biologicamente relevantes, como é o caso das cobras (Rosa, Esteves, & Arriaga, 2014, 2015; Rosa, Gamito, Olivei

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Guerra, Jorge Alberto Ramada Folgado. "A velocidade sacádica na deteção de cobras: um estudo com image morphing." Master's thesis, 2018. http://hdl.handle.net/10437/9460.

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Orientação: Pedro Joel Rosa<br>Numa perspetiva evolutiva, o medo tem origem em sistemas de comportamento defensivo que ajudaram, ao longo do percurso evolutivo, os indivíduos a lidar com diferentes tipos de ameaça à sua sobrevivência (Bolles, 1970), motivando-os a escapar e evitar fontes de perigo e ameaça com ativação de comportamentos defensivos muito rápidos (Fanselow & Lester, 1988). Como répteis, as cobras têm significado, no percurso evolutivo, uma ameaça mortal, configurando-se, por esta razão, como estímulos especiais para os seres humanos (Öhman & Mineka, 2003). Numa perspetiva

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Books on the topic "Serpant imagery"

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Preston-Mafham, Ken. Insectes, araignées & serpents: Guide images. Éditions Coup d'oeil, 2007.

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2

Cho, Sung Uk. Studies of the cultic image of Seraph and Nehushtan in the Bible in the light of the ancient Near Eastern world. s.n., 2000.

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P, Steinberg Michael, ed. Images from the region of the Pueblo Indians of North America. Cornell University Press, 1995.

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Faith, serpents, and fire: Images of Kentucky Holiness believers. University Press of Mississippi, 1999.

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Museum of New Mexico. Press., ed. The serpent and the sacred fire: Fertility images in Southwest rock art. Museum of New Mexico Press, 2000.

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Wesler, Allan. Images encyclopedia: Journey into the language of life. Enterprises Publishers, 1990.

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Bernardini, Silvio. The serpent and the siren: Sacred and enigmatic images in Tuscan rural churches. Editrice Don Chisciotte, 2000.

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Bernardini, Silvio. The serpent and the siren: Sacred and enigmatic images in Tuscan rural churches. Editrice Don Chisciotte, 2000.

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9

Piotr, Skubiszewski, ed. L' image de Babylone aux serpents dans les Beatus: Contribution à l'étude des influences du Proche-Orient antique dans l'art du haut Moyen Age. Cariscript, 2000.

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Wesler, Allan. Images Encyclopedia. Enterprises Pub, 1992.

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Book chapters on the topic "Serpant imagery"

1

Gohrab, Asghar Abu. "Majnun’s Image as a Serpent." In The Poetry of Nizami Ganjavi: Knowledge, Love, and Rhetoric. Palgrave Macmillan US, 2000. http://dx.doi.org/10.1007/978-1-137-09836-8_5.

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Martínez González, Roberto. "El hueso y la sangre: dos elementos centrales en la imagen corporal de los antiguos tarascos." In La quête du serpent à plumes. Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.behe-eb.4.00257.

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de Castro, A. I. Gomez, and C. Eiroa. "CCD Images of the Serpens Bipolar Nebula." In Mass Outflows from Stars and Galactic Nuclei. Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-2941-8_35.

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Barsony, Mary, and Robert L. Hurt. "HIRES IRAS Images of the Serpens Core." In The Role of Dust in the Formation of Stars. Springer Berlin Heidelberg, 1996. http://dx.doi.org/10.1007/978-3-540-68594-4_24.

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"La femme aux serpents, l'homme aux serpents and l'avare." In Images of Lust. Routledge, 2013. http://dx.doi.org/10.4324/9780203714423-9.

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"IMAGE CREDITS." In The Dancing Lares and the Serpent in the Garden. Princeton University Press, 2018. http://dx.doi.org/10.1515/9781400888016-012.

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Hudnut-Beumler, James. "Rattlesnakes, Holiness, and the Nearness of the Holy Spirit." In Strangers and Friends at the Welcome Table. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469640372.003.0004.

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Although the outside image of southern Pentecostal Holiness is often sensationalized by associations with serpent handling believers, that actual practice is confined to roughly a thousand individuals in an Appalachian crescent in the South. The story of Wesleyan Holiness belief in the nineteen century transforming in the twentieth to a wide variety of Pentecostal bodies is an important one that gains importance in the contemporary era wherein the South’s growing number of “bapticostal” black churches and other churches effecting the prosperity gospel far outnumber the formal number of Pentecostal churches. Furthermore, the convictions that the Holy Spirit is nearby and waiting on believers’ calling have come to characterize even many mainline and evangelical churches’ practice to the point where one can speak of the Pentecostalization of southern Christianity.

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Flower, Harriet I. "Augustus and Lares Augusti." In The Dancing Lares and the Serpent in the Garden. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691175003.003.0004.

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This chapter explores the nature of Augustus' religious reform, its implementation by the princeps, and its impact in the city. It uses a combination of approaches to elucidate the variety of ancient source material and the intersections between the different pieces of surviving evidence. A consideration of Octavian/Augustus' role and image in the city before 8/7 BC serves to introduce a more detailed analysis of the moment of religious reform itself, as far as we can understand it from our slim evidence. The chapter also looks at lares augusti in their own right and in the context of their cult at the crossroads shrines, and argues that no cult of Augustus' genius was to be found at the crossroads in Rome or in the home during his lifetime.

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Flower, Harriet I. "Lar(es)/Genius and Juno/Snake(s)." In The Dancing Lares and the Serpent in the Garden. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691175003.003.0001.

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This chapter is organized into nine interrelated sections. Since the evidence about the lares is so fragmented and disparate, each ancient text or image is examined in its own right. It clears the ground for the discussion by first addressing the debate in the antiquarian sources about the basic nature of lares. It argues against the interpretation of lares as spirits of the deceased and in favor of seeing them as benevolent deities of place and of travel. Moving on from the theoretical classification of these distinctly academic texts, it looks at both literary and epigraphic evidence from the archaic Arval hymn onward. The remainder of the chapter considers which Latin authors refer to twin lares as opposed to a single lar. It also draws together the evidence from painted iconography, written text, and ritual custom to suggest an overall interpretation of the lares and snakes as “gods of place,” who receive gifts and honor from a genius on the Bay of Naples.

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Brittenham, Claudia. "What Lies Beneath: Carving on the Underside of Aztec Sculpture." In Conditions of Visibility. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198845560.003.0008.

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Not all ancient art was made to be seen. Consider, for example, a sculpture of a rattlesnake, today in the British Museum. Its visible body is smooth and simple, coiled into three highly polished circuits. The mouth is daubed with red paint, open to reveal fierce fangs and an elongated forked tongue; the body terminates in thirteen rounded rattles. In between, the only decoration is the varied coloration of the gleaming stone. On the underside, the carving is far more elaborate. The rattles and then the ventral scales of the serpent are lavishly detailed as they spiral upwards. At regular intervals, dots of red pigment have been added to these hidden coils, ornamenting the rattlesnake’s belly. The three-dimensionality of this sculpture challenges display; photographs, casts, or ingeniously rigged mirrors can simultaneously make both the top and bottom of the sculpture visible for modern audiences, but it is likely that in Aztec times the serpent’s coils were invisible, only hinted at by the rounded forms at the base of the sculpture. One of over one hundred Aztec sculptures with documented carving on its underside, this coiled serpent was not an isolated caprice but part of a coherent and meaningful practice. Much ancient art was difficult to see in its original context. From the dedicatory inscription on the back of a Neo-Assyrian sculpture such as the Lamassu in Chicago’s Oriental Institute to the surface of the Column of Trajan spiraling out of sight or the gargoyles on medieval cathedrals, ancient art frequently thwarted the gaze. Many objects alternated between moments of visibility and concealment: displayed briefly, but crucially, at a funeral ceremony before being sealed within a tomb, for example; or stored in darkness between moments of exposure in procession or performance. Other images ended up hidden after complex histories of reuse and recycling. Still other examples hovered at the edge of a gradient of diminishing visibility—possible to see, perhaps, if only one’s gaze were powerful enough.

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Conference papers on the topic "Serpant imagery"

1

Zhang, Jinzhu, and Jiping Niu. "A Digital Image Scrambling Method Based on Serpent." In 2009 International Conference on Multimedia Information Networking and Security (MINES 2009). IEEE, 2009. http://dx.doi.org/10.1109/mines.2009.184.

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Elkamchouchi, Hassan M., Ali E. Takieldeen, and Mahmoud A. Shawky. "A modified serpent based algorithm for image encryption." In 2018 35th National Radio Science Conference (NRSC). IEEE, 2018. http://dx.doi.org/10.1109/nrsc.2018.8354369.

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