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Journal articles on the topic 'Serpant imagery'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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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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2

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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3

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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4

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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7

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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9

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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10

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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Santos Neto, Artur Bispo dos. "Imagens dialéticas no poema O navio negreiro de Castro Alves." Cadernos Benjaminianos, no. 1 (December 31, 2009): 55. http://dx.doi.org/10.17851/2179-8478.0.1.55-73.

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<p>O desenvolvimento do poema <em>O navio negreiro </em>revela a pertinência da interpretação benjaminiana da alegoria como categoria-chave para entender as contradições do mundo. A vivência do choque e da ruptura é o cerne dessa tragédia no mar, em que o poeta reveste as palavras com os contornos das imagens alegóricas. No poema assistimos dançar a serpente, o chicote, as correntes, as bandeiras, o barco nas ondas do mar e a multidão dos escravos. O poeta toma o partido das vítimas da narrativa e mostra as marcas do sofrimento do outro, daquele que é silenciado pela história

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12

Taube, Karl A. "THE SYMBOLISM OF JADE IN CLASSIC MAYA RELIGION." Ancient Mesoamerica 16, no. 1 (2005): 23–50. http://dx.doi.org/10.1017/s0956536105050017.

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The Classic Maya esteemed jadeite not only for its preciousness and beauty but also as stone of great symbolic import. This paper examines the religious significance of jade and certain types of jade artifacts among the Classic Maya. In this study, I note that the Classic Maya ascribed a number of meanings to jade, including maize, centrality, and rulership, as well as a material embodiment of wind and the vitalizing breath soul. Because of its close relationship to the breath spirit, jade was an important component of funerary rites and the ritual conjuring of gods and ancestors. Carved in fl

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13

Navarro, Alexandre Guida. "O Rei Maia Kukulcán e seus discursos de propaganda política em Chichén Itzá." Revista Arqueologia Pública 7, no. 1 (2013): 7. http://dx.doi.org/10.20396/rap.v7i1.8635671.

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Chichén Itzá foi um populoso centro urbano maia responsável por tributar centenas de cidades, organizar um exército eficaz para os empreendimentos guerreiros e realizar comércio de longa distância com outras cidades maias e de outras etnias. Durante seu auge, no século IX, a cidade foi governada por um rei chamado Kukulcán, que foi responsável pela maioria das construções arquitetônicas da cidade. Tal governo foi marcado por uma eficiente propaganda política que foi planejada segundo um processo cognitivo de representação imagética do governante, cuja principal manifestação deu-se em forma de

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14

Guo, Yanlong. "Iconographic Volatility in the Fuxi-Nüwa Triads of the Han Dynasty." Archives of Asian Art 71, no. 1 (2021): 63–91. http://dx.doi.org/10.1215/00666637-8866680.

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Abstract Over the span of some two hundred years, from the late Western Han to the late Eastern Han, triad images featuring a prominent central being flanked by two smaller, snake-bodied figures, occurred on murals and carved stones in Henan, Shandong, and adjacent areas. The iconographic schema of the flanking figures, Nüwa and Fuxi, appears mature and stable, with their identities consistently determined by their half-human, half-serpent, and gendered bodies as well as by the divine objects they hold—sun and moon, compass and T square, numinous mushrooms. The iconography of the third being,

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15

Waldez, Fabiano, and Richard C. Vogt. "Aspectos ecológicos e epidemiológicos de acidentes ofídicos em comunidades ribeirinhas do baixo rio Purus, Amazonas, Brasil." Acta Amazonica 39, no. 3 (2009): 681–92. http://dx.doi.org/10.1590/s0044-59672009000300025.

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Acidentes ofídicos foram registrados em dez comunidades ribeirinhas do baixo rio Purus através de entrevista às vítimas. Os ribeirinhos responderam perguntas sobre a percepção ambiental da ecologia das serpentes envolvidas nos acidentes. O tamanho das serpentes e a altura da mordida no corpo foram estimados com fita métrica. A correspondência entre os nomes locais e científicos das serpentes foi levantada utilizando descrições e imagens das espécies. Para outras 17 comunidades dados adicionais do número de famílias com vítimas de acidentes ofídicos foram avaliados através do diagnóstico sócio-

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16

Rossi, Paola Maria. "Áhir budhníyaḥ and bhūmidundubhiḥ: The serpent of the deep and the earth-drum. A hypothesis of etymological and/or cultural connections". Lingua Posnaniensis 61, № 2 (2019): 107–31. http://dx.doi.org/10.2478/linpo-2019-0017.

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Abstract This article highlights how the process of semantic extension applied to the OIA onomatopoeic noun dundubhí, usually meant as “drum”, is the token of significant cultural changes: especially within ritual performances, such as the mahāvrata rite, gradually canonised in the Brahmanical ritualism, it turns out to be a device to promote a new model of sovereignty, related to the establishment of the so-called Kuru-Pañcāla realm. Such a cultural transformation, carried out in the Middle and Late Vedic period in northern India, entailed that ancient Indo-European tribal cultural traits wer

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17

Serva, Leão, and Norval Baitello Jr. "O gesto do selfie: seria o selfie um Nachleben?" Prometeica - Revista de Filosofía y Ciencias, no. 17 (August 3, 2018): 86–92. http://dx.doi.org/10.24316/prometeica.v0i17.228.

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A epidemia do selfie no século 21 pode ser apenas a continuidade, potencializada por uma tecnologia nova, de movimentos humanos presentes desde a Antiguidade. Gestos arcaicos considerados tanto no âmbito do desejo de expressar a identidade do autor de imagens diversas (como são os casos das mãos impressas em paredes de cavernas por autores de pinturas rupestres), quanto no repertório propriamente da gestualidade humana expressiva de emoções. Este é o caso dos gestos de expressão do pathos vitorioso, por exemplo, como definiu o pensador alemão Aby Warburg (1866-1929) na transição do século 19 p

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18

Damas, Naiara. "Enredar a loucura." História da Historiografia: International Journal of Theory and History of Historiography 13, no. 34 (2020): 41–75. http://dx.doi.org/10.15848/hh.v13i34.1683.

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No ano de sua morte, em 1929, o historiador alemão Aby Warburg escreveu no diário de sua Biblioteca sobre a conexão que acreditava existir entre a sua vida pessoal e o seu projeto de pesquisa sobre a vida póstuma da Antiguidade. De acordo com ele, um “reflexo autobiográfico” teria feito com que sua condição como esquizofrênico se projetasse sobre o seu diagnóstico por imagens da “esquizofrenia do Ocidente”. Esse efeito especular permite ver a sua obra não apenas como um empreendimento intelectual, mas também como um espaço terapêutico fundado no entrelaçamento essencial entre sujeito e objeto.

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19

Mendes, Anabela. "“O sol crestante derrama os seus raios ardentes”, enquanto a serpente, como secreta protectora, repousa no meu quarto no 59 do Palace-Hotel de Santa Fé. Experiência e discurso antropológico em Wassily Kandinsky e Aby M. Warburg." Dramaturgias, no. 15 (December 23, 2020): 365–83. http://dx.doi.org/10.26512/dramaturgias15.35760.

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   Não é o olhar sobre os vestígios do que já foi mas o olhar sobre o que está a ser que leva Wassily Kandinsky a visitar camponeses em Vologda, no ano 1889, e Aby M. Warburg a procurar o lugar dos índios Pueblo no Novo México em 1895. Ambos são parte de uma mesma época. Cada um por si transporta uma genética própria como expressão de uma herança cultural europeia comum, mar- cada também, e apesar disso, pela convivência com diferentes tradições religiosas. Estão os dois a ocidente e deslocam-se: o primeiro para o norte da Rússia, o segundo em direcção ao sul dos EUA. D

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20

Peters, Ann. "Two-headed serpents and rayed heads: Precedents and reinterpretations in Paracas necropolis imagery." Zea Books, 2020. http://dx.doi.org/10.32873/unl.dc.zea.1203.

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21

Meneses, Adelia Bezerra de. "Sereias." Revista do Instituto de Estudos Brasileiros, April 27, 2020, 71–93. http://dx.doi.org/10.11606/issn.2316-901x.v1i75p71-93.

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No recorte de um estudo do mito odisseico em contraponto com a literatura brasileira, a proposta foi trabalhar o tema das Sereias (na Odisseia e no romance Uma aprendizagem ou O livro dos prazeres, de Clarice Lispector, com uma breve incursão pela Lorelei, de Heine). Na sequência de uma leitura adorniana da Odisseia, aborda-se a sereia de um viés menos explorado na diluição desse mito, que é a inquietante relação entre sedução e saber, ou melhor: a sedução pelo conhecimento. Isso levou, inevitavelmente, a um paralelo com o mito bíblico de Adão e Eva e a Árvore do Conhecimento, e consequente su

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22

Hayward, Philip. "Domini da Mar: Manifestations of the aquapelagic imaginary in Venetian symbolism and folklore." Shima: The International Journal of Research into Island Cultures 15, no. 1 (2021). http://dx.doi.org/10.21463/shima.101.

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The concept of the aquapelago, an assemblage of terrestrial and aquatic spaces generated by human activities, was first advanced in 2012 and has been subsequently developed with regard to what has been termed the ‘aquapelagic imaginary’ – the figures, symbols, myths and narratives generated by human engagement with such assemblages. Venice, a city premised on the integration of terrestrial and marine elements within an intermediate tidal lagoon, is a paradigmatic aquapelago and its artists have produced a substantial corpus of creative work reflecting various aspects of its Domini da Mar (mari

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23

Santana, Helena Maria da Silva, and Maria do Rosário da Silva Santana. "A construção de diferentes imaginários pelo sonoro de Maurice Ravel e as imagens de Tom Scott: o caso particular da Suite Ma mère l’Oye." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a94.

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Originally written as a five-movement piano duet, Ma mère l’Oye, composed by Maurice Ravel in 1910, it’s a musical Suite. Dedicated to the Godebski children, the piece was transcribed for solo piano by Jacques Charlot the same year as it was published (1910). Both piano versions bear the subtitle “cinq pièces enfantines” (five children’s pieces). Sleeping Beauty and Little Tom Thumb are based on the tales of Charles Perrault, while Little Ugly Girl and Empress of the Pagodas is inspired by a tale (The Green Serpent) by Madame d’Aulnoy. In 1911, Ravel orchestrated the work. This form is the mos

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24

Reinaldo, Gabriela. "A PAIXÃO SEGUNDO A. W. – notas o sobre o ritual da serpente e as pathosformeln no pensamento de Aby Warburg." E-Compós 18, no. 3 (2015). http://dx.doi.org/10.30962/ec.1172.

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Em 1905, Aby Warburg formulou o que chamaria de Pathosformeln – neologismo criado por ele em seu estudo sobre Albrecht Dürer, mas que já aparecia de forma rudimentar em seus primeiros escritos. As Pathosformeln dizem respeito às forças psíquicas presentes na memória coletiva em formas espectrais, imagens dotadas de intensa energia primitiva. Se a história do pensamento no ocidente concorre para a expulsão da paixão do domínio da lógica e da ciência – a paixão atrapalha e embota o que se pretende lúcido e positivo – o legado e a vida de A. W. são testemunhos dos inegáveis efeitos das paixões pa

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25

Reinaldo, Gabriela. "A PAIXÃO SEGUNDO A. W. – notas o sobre o ritual da serpente e as pathosformeln no pensamento de Aby Warburg." E-Compós 18, no. 3 (2015). http://dx.doi.org/10.30962/ec.v18i3.1172.

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Em 1905, Aby Warburg formulou o que chamaria de Pathosformeln – neologismo criado por ele em seu estudo sobre Albrecht Dürer, mas que já aparecia de forma rudimentar em seus primeiros escritos. As Pathosformeln dizem respeito às forças psíquicas presentes na memória coletiva em formas espectrais, imagens dotadas de intensa energia primitiva. Se a história do pensamento no ocidente concorre para a expulsão da paixão do domínio da lógica e da ciência – a paixão atrapalha e embota o que se pretende lúcido e positivo – o legado e a vida de A. W. são testemunhos dos inegáveis efeitos das paixões pa

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26

Hand, Richard J. "Dissecting the Gash." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2389.

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Given that the new advances in technology in the 1980s had a major impact on the carefully constructed myth of authenticity in horror and pornography, ranging from flawless special effects at one extreme to the idea of the handheld voyeur movie at the other, it is rather ironic that the key progenitor to the erotic-grotesque form is a long-established and in some ways basic form: the pen and paper art of manga. This medium can be traced back to pillow books and the illustrated tradition in Japanese culture – a culture where even written language has evolved from drawings rather than alphabetic

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27

Harley, Alexis. "Resurveying Eden." M/C Journal 8, no. 4 (2005). http://dx.doi.org/10.5204/mcj.2382.

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   The Garden of Eden is the original surveillance state. God creates the heavens and the earth, turns on the lights, inspects everything that he has made and, behold, finds it very good. But then the creation attempts to acquire the surveillant properties of the creator. In Genesis 3, a serpent explains to Eve the virtues of forbidden fruit: “Ye shall not die: For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods, knowing good and evil” (Genesis 3: 4–5). Adam’s and Eve’s eyes are certainly opened (sufficiently so to necessi

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