Olle Ferm, Ingela Hedström, Sofia Lodén, Jonatan Pettersson, and Mia Åkestam, eds., The “Eufemiavisor” and Courtly Culture: Time, Texts and Cultural Transfer. (Kungliga Vitterhets Historie och Antikvitets Akademien Konferenser 88.) Stockholm: Kungliga Vitterhetsakademien, 2015. Paper. Pp. 288; 17 color figures and 11 tables. 235kr. ISBN: 978-91-7402-436-4.Table of contents available online at http://vitterhetsakad.bokorder.se/sv-SE/article/2750/the-eufemiavisor-and-courtly-culture

Speculum ◽  
2019 ◽  
Vol 94 (2) ◽  
pp. 529-531
Author(s):  
Stefka G. Eriksen
Keyword(s):  
Cultural Transfer ◽  
Culture Time ◽  
Courtly Culture

Effect of Culture Time on the Bioactive Components in the Fruit Bodies of Caterpillar Mushroom, Cordyceps militaris CM-H0810 (Ascomycetes)

2019 ◽  
Vol 21 (11) ◽  
pp. 1107-1114
Author(s):  
Lina Zhu ◽  
Hongxia Zhang ◽  
Yangfang Liu ◽  
Jing-Song Zhang ◽  
Xinhua Gao ◽  
...  
Keyword(s):  
Cordyceps Militaris ◽  
Bioactive Components ◽  
Culture Time

The Changing Perception of the Five Senses

2020 ◽  
pp. 103-122
Author(s):  
Sara Benninga
Keyword(s):  
Material Culture ◽  
Lived Experience ◽  
17Th Century ◽  
Scientific Instruments ◽  
Peter Paul Rubens ◽  
Courtly Culture ◽  
Southern Netherlands ◽  
The Subject ◽  
Five Senses ◽  
The Senses

This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context

Translation as Resistance

2017 ◽  
Author(s):  
Joanna Rzepa
Keyword(s):  
Cultural Identity ◽  
Paradise Lost ◽  
Historical Account ◽  
Cultural Transfer ◽  
Polish Literature ◽  
Political Sovereignty ◽  
Epic Poem ◽  
Complex Modes ◽  
The World ◽  
The Rich

This chapter offers a historical account of the presence of Paradise Lost in translation and Polish literature, especially how the poem’s reception in Poland has been shaped by complex modes of linguistic and cultural transfer. The chapter explores the historical and political contexts in which Paradise Lost was translated into Polish, discusses the most important actors involved in its publication, and analyses the strategies employed by the translators. It demonstrates that the eighteenth- and nineteenth-century translators of Milton, who worked at a time when Poland had lost its political sovereignty, focused specifically on the form of the poem, presenting models for a modern Polish epic poem that could help sustain Polish cultural identity. The focus of the twentieth-century translators, who lived through the world wars, shifted from the form to the rich imagery of Milton’s poem, in particular his exploration of the themes of vanity, destruction, and exile.

Christograms as Signs of Authority in the Late Roman Empire

2018 ◽  
Author(s):  
Ildar Garipzanov
Keyword(s):  
Roman Empire ◽  
Final Section ◽  
Fifth Century ◽  
Rhetorical Device ◽  
Early Christian ◽  
Courtly Culture ◽  
Diachronic Change ◽  
Late Roman

The first section tests the main interpretations of Lactantius’ passage on Constantine’s victorious sign in 312 against existing graphic evidence from the 310s and early 320s, and consequently supports the interpretation of Lactantius’ description as a rhetorical device invented or modified by the Christian narrator. The next two sections support the argument that the perception of the chi-rho as Constantine’s triumphant sign became entrenched in courtly culture and public mentalities from the mid-320s onwards, and trace the diachronic change of the chi-rho from its paramount importance as an imperial sign of authority under the Constantinian dynasty to its hierarchic usage alongside the tau-rho and cross in the Theodosian period. The final section presents a contextualized discussion of the encolpion of Empress Maria and mosaics from several early baptisteries, illustrating the paradigmatic importance the chi-rho and tau-rho for early Christian graphicacy around the turn of the fifth century.

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