Archaeology in Greece, 1947–1948

1947 ◽  
Vol 67 ◽  
pp. 34-45 ◽  
Author(s):  
J. M. Cook
Keyword(s):  
Fifth Century ◽  
The Other ◽  
Financial Policy ◽  
National Museum ◽  
Ministry Of Education ◽  
Works Of Art ◽  
Private Collection ◽  
Greek Government ◽  
Restrict Movement ◽  
Head Band

The year 1947–1948 has been one of limited activity. The presence of rebel bands continues to restrict movement in parts of mainland Greece and the Peloponnese; and the financial policy of the Greek Government has allowed little progress to be made this year in reconstituting the museums. The ban which the Ministry of Education imposed on excavation in Greece has not been withdrawn, though there are signs of a more liberal interpretation of it. On the other hand, the foreign archaeological institutions in Greece have intensified their activities within the limits imposed by present conditions; they have been happily strengthened by the founding on 10th May 1948 of a Swedish Institute in Athens.The Kerameikos Museum is now opened by appointment for students. The principal sculptures of the National Museum have been unpacked in preparation for replacement; an exhibition of early Greek sculptures and works of art was formally opened in the new year; it includes the Delphi charioteer and the new kouros from Anavysos. Additions to Mrs. Stathatou's private collection include a Late Geometric amphora and stamped gold head-band which were found in a grave in the Mesogaia, a small archaic bronze steer's head, and a grave relief of the later fifth century B.C.

scholarly journals METAL DELM - metal avrelianis contribution to the study of mining coins and anonymous quadrantes

Starinar ◽  
2016 ◽  
pp. 111-119
Author(s):  
Mirjana Vojvoda ◽  
Slavoljub Petrovic
Keyword(s):  
The Other ◽  
Considerable Proportion ◽  
National Museum ◽  
Private Collection ◽  
Group 6 ◽  
Group 3 ◽  
The Subject ◽  
The Right ◽  
The Village ◽  
Roman Mining

In the course of rescue archaeological investigations at the Viminacium necropolis of Vi{e Grobalja in 1984, one anonymous quadrans of the VIII Apollo group was discovered (cat. 1). It was discovered in trench 63 in the immediate vicinity of a grave with an inhumation (G 343) that, besides two pottery vessels, also yielded as grave offerings one as of Faustina the Elder, minted after her death, in AD 141. Other finds presented here are four specimens of Roman mining coins from the private collection of Petar Fajfri} from [abac (cat. 2-5). All specimens come from the well known site of Duge Njive in the area of the village of Banatsko Polje (Bogati} borough) where, by all appearances, are the remains of a vicus or smaller settlement. Five specimens of mining coins from that site have already been published. Both mining coins and anonymous quadrantes represent, in general, rare types of numismatic finds. Nine anonymous quadrantes are known so far from the territory of Serbia (Table 1) and the provenance is known for three specimens from the region of Guberevac-Babe (Kosmaj), housed in the National Museum in Belgrade. All three belong to the Minerva group with an owl facing to the right represented on the reverse. For two more anonymous quadrantes the place of discovery is known: one specimen comes from Singidunum and belongs to the Mercury group and the other that was found at Viminacium and is the subject of this paper is of the Apollo group. There are four more specimens from unknown sites for which it is assumed that they come from the Upper Moesia territory. Two of them are from the Vajfert collection and two from the Kovacevic collection in the National Museum in Belgrade, There has, however, been a somewhat greater number (38) of Roman mining coins discovered in Serbia (Table 1). We know the finding locations of 25 of them: from the Kosmaj area (Babe, Guberevac and Stojnik), the Ibar valley (from the vicinity of Trepca and So~anica), Ritopek, Belgrade and Banovo Polje. We do not know the provenance for the remaining 13 specimens, but it is assumed that they come from the Upper Moesia territory. The anonymous quadrans discovered at the Viminacium necropolis of Vi{e Grobalja belongs, as previously mentioned, to the Apollo group. The only analogous piece known from the territory of Serbia comes from the Kovacevic collection in the National Museum in Belgrade. Most of the known specimens belong to the Minerva group (3), there are two pieces of the Mars group, one of Mercury and one undetermined (Table 1). The anonymous quadrans from Viminacium is the second of its kind discovered along the Upper Moesia section of the Danube limes. The quadrans from Singidunum was found in the zone of the Roman Singidunum harbour and belongs to the Mercury group. Five specimens of mining coins in the Fajfri} collection published earlier belong to the same METAL DELM type with a bust of Diana on the obverse and deer on the reverse. To this group should be added our specimen cat. 2, and as such this type is the best represented group (6) of mining coins from the site of Duge Njive at Banovo Polje. The same group, Metalli Delmatici, also includes cat. 3, which has the head of Mars on the obverse and armour on the reverse. Then there are the two identical quadrantes of the group MetalliAureliani (cat. 4, 5) and their only analogy from the territory of Serbia is the quadrans from the Kosmaj area. The nine specimens of mining coins from the site of Duge Njive at Banovo Polje make up a considerable proportion of the total number of mining coins in Serbia. Their importance is even greater because of the fact that seven METAL DELM specimens are the first of that group for which we know the finding location. Finds of the anonymous quadrans from the Viminacium necropolis of Vi{e Grobalja and the mining coins from Banovo Polje complete the picture of the topography of this kind of numismatic finds. Their publishing is, mainly because of the known provenance, more significant for future investigations.

scholarly journals LEOPOLD BINENTAL AND THE HISTORY OF HIS COLLECTION

Muzealnictwo ◽  
2017 ◽  
Vol 58 (1) ◽  
pp. 109-122
Author(s):  
Krzysztof Dubiński ◽  
Ewa Katarzyna Świetlicka
Keyword(s):  
Life Story ◽  
Middle Eastern ◽  
National Museum ◽  
Management Board ◽  
Works Of Art ◽  
Private Collection ◽  
The World ◽  
Executive Secretary ◽  
History Of ◽  
120Th Anniversary

Leopold Jan Binental (1886–1944) was a musicologist and journalist, and an indefatigable promoter of Frederic Chopin’s compositions and researcher into his life story in the inter-war period. He wrote and published a great deal in professional periodicals as well as in the national and foreign popular press, mainly in France and Germany. Until 1939, he was a regular music critic for "Kurier Warszawski". He was thought to be a competent and respected Chopinologist, and his reputation in Europe was confirmed by the monograph Chopin published in Warsaw (1930 and 1937) and in Paris (1934) and the album Chopin. On the 120th anniversary of his birth. Documents and mementoes (Warsaw 1930 and Leipzig 1932) presenting Chopin’s mementoes, prints, drawings, handwritten musical notes and letters. He initiated and co-organised famous exhibitions about Chopin in the National Museum in Warsaw (1932) and the Polish Library in Paris (1932 and 1937). He was Executive Secretary on the Management Board of the Fryderyk Chopin National Institute created in 1934. Binental amassed a private collection of Chopin’s manuscripts and mementoes which is highly regarded in musicological circles. He also collected works of art; his collection comprised ancient, Middle Eastern and modern European ceramics, medieval sculpture and tapestries, goldsmithery and Judaica. After the outbreak of war in autumn 1939, Binental took certain steps to secure his collections. Three chests with ceramics and works of art were deposited in the National Museum in Warsaw. However, it is not known what happened to the collection of Chopin’s objects. At the beginning of 1940, Binental and his wife managed to leave Poland and reach France, where his daughter lived. In 1944 he was arrested by Gestapo and sent to Auschwitz from which he did not return. After the war, at the request of his daughter Krystyna, some of the works of art deposited in the collections of the National Museum were found. With her approval, they are currently to be found in public collections in Poland, although the fate of his Chopin collection remains unknown. Every now and then, some proof appears on the world antiquarian market that the collection has not been damaged, despite remaining missing.

Med. Dr. Adalbert Wraný (1836–1902) – doctor of medicine, mineral collector and donor to the National Museum in Prague

2019 ◽  
Vol 188 (1) ◽  
pp. 95-146
Author(s):  
Martin Bohatý ◽  
Dalibor Velebil
Keyword(s):  
Natural Science ◽  
Natural Sciences ◽  
The Other ◽  
National Museum ◽  
Industrial Chemistry ◽  
Pediatric Pathology ◽  
Geological Institute ◽  
History Of ◽  
Precious Stones

Adalbert Wraný (*1836, †1902) was a doctor of medicine, with his primary specialization in pediatric pathology, and was also one of the founders of microscopic and chemical diagnostics. He was interested in natural sciences, chemistry, botany, paleontology and above all mineralogy. He wrote two books, one on the development of mineralogical research in Bohemia (1896), and the other on the history of industrial chemistry in Bohemia (1902). Wraný also assembled several natural science collections. During his lifetime, he gave to the National Museum large collections of rocks, a collection of cut precious stones and his library. He donated a collection of fossils to the Geological Institute of the Czech University (now Charles University). He was an inspector of the mineralogical collection of the National Museum. After his death, he bequeathed to the National Museum his collection of minerals and the rest of the gemstone collection. He donated paintings to the Prague City Museum, and other property to the Klar Institute of the Blind in Prague. The National Museum’s collection currently contains 4 325 samples of minerals, as well as 21 meteorites and several hundred cut precious stones from Wraný’s collection.

Metamorphosen des Autors im Internet

2018 ◽  
Vol 2018 (1) ◽  
pp. 73-82
Author(s):  
Julia Genz
Keyword(s):  
Web 2.0 ◽  
Digital Media ◽  
Intrinsic Value ◽  
The Other ◽  
Cultural Conditions ◽  
Works Of Art ◽  
Periodic Schedule ◽  
Literary Authorship ◽  
The One ◽  
Death Of The Author

Digital media transform social options of access with regard to producers, recipients, and literary works of art themselves. New labels for new roles such as »prosumers « and »wreaders« attest to this. The »blogger« provides another interesting new social figure of literary authorship. Here, some old desiderata of Dadaism appear to find a belated realization. On the one hand, many web 2.0 formats of authorship amplify and widen the freedom of literary productivity while at the same time subjecting such production to a periodic schedule. In comparison to the received practices of authors and recipients many digital-cultural forms of narrating engender innovative metalepses (and also their sublation). Writing in the net for internet-publics enables the deliberate dissolution of the received autobiographical pact with the reader according to which the author’s genuine name authenticates the author’s writing. On the other hand, the digital-cultural potential of dissolving the autobiographical pact stimulates scandals of debunking and unmasking and makes questions of author-identity an issue of permanent contestation. Digital-cultural conditions of communication amplify both: the hideand- seek of authorship as well as the thwarting of this game by recipients who delight in playing detective. In effect, pace Foucault’s and Barthes’ postulates of the death of the author, the personality and biography of the author once again tend to become objects of high intrinsic value

Retroaktive Neuverhandlung

2018 ◽  
Vol 63 (1) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
Original Work ◽  
The Other ◽  
Final Part ◽  
Critical Reading ◽  
The Third ◽  
Works Of Art ◽  
The Relationship

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.

Epidemics

2018 ◽  
Author(s):  
Samuel K. Cohn, Jr.
Keyword(s):  
Sixteenth Century ◽  
Preventive Measures ◽  
Fifth Century ◽  
The Other ◽  
Fundamental Aspect ◽  
Late Nineteenth Century ◽  
Psychological Consequences ◽  
The Us ◽  
History Of ◽  
Race Ethnicity

This book challenges a dominant hypothesis in the study of epidemics. From an interdisciplinary array of scholars, a consensus has emerged: invariably, epidemics in past times provoked class hatred, blame of the ‘other’, or victimization of the diseases’ victims. It is also claimed that when diseases were mysterious, without cures or preventive measures, they more readily provoked ‘sinister connotations’. The evidence for these assumptions, however, comes from a handful of examples—the Black Death, the Great Pox at the end of the sixteenth century, cholera riots of the 1830s, and AIDS, centred almost exclusively on the US experience. By investigating thousands of descriptions of epidemics, reaching back before the fifth-century BCE Plague of Athens to the eruption of Ebola in 2014, this study traces epidemics’ socio-psychological consequences across time and discovers a radically different picture. First, scholars, especially post-AIDS, have missed a fundamental aspect of the history of epidemics: their remarkable power to unify societies across class, race, ethnicity, and religion, spurring self-sacrifice and compassion. Second, hatred and violence cannot be relegated to a time when diseases were mysterious, before the ‘laboratory revolution’ of the late nineteenth century: in fact, modernity was the great incubator of a disease–hate nexus. Third, even with diseases that have tended to provoke hatred, such as smallpox, poliomyelitis, plague, and cholera, blaming ‘the other’ or victimizing disease bearers has been rare. Instead, the history of epidemics and their socio-psychological consequences has been richer and more varied than scholars and public intellectuals have heretofore allowed.

Plausibility and Aesthetic Interpretation

1977 ◽  
Vol 7 (2) ◽  
pp. 327-340 ◽  
Author(s):  
Denis Dutton
Keyword(s):  
Scientific Inquiry ◽  
The Other ◽  
Inquiry Science ◽  
Works Of Art ◽  
Different Types ◽  
Logical Structures ◽  
The One

If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on the circumstances of its employment. ln the following discussion, I will make some observations about the logic of this concept in connection with its uses in two rather different contexts: the context of scientific inquiry on the one hand, and that of aesthetic interpretation on the other. In distinguishing separate senses of “plausible,” I shall provide reason to resist the temptation to imagine that because logical aspects of two different types of inquiry—science and criticism—happen to be designated by the same term, they may to that extent be considered to have similar logical structures.

Nietzsche, Beyond Good and Evil

1986 ◽  
Vol 20 ◽  
pp. 197-216
Author(s):  
Michael Tanner
Keyword(s):  
Fifth Century ◽  
The Other ◽  
Primary Concern ◽  
Classical Scholarship ◽  
The World ◽  
Birth Of Tragedy ◽  
Tragic Drama ◽  
Good And Evil

Although Nietzsche's greatness is recognized more universally now than ever before, the nature of that greatness is still widely misunderstood, and that unfortunately means that before I discuss any of Beyond Good and Evil (henceforth BGE) in any detail, I must make some general remarks about his work, his development and the kind of way in which I think that it is best to read him. Unlike any of the other philosophers that this series includes, except Marx and Engels, Nietzsche is very much concerned to address his contemporaries, because he was aware of a specific historical predicament, one which he would only see as having worsened in ways which he predicted with astonishing precision in the century since he wrote his great series of works. For he was above all a philosopher of culture, which is to say that his primary concern was always with the forces that determine the nature of a particular civilization, and with the possibilities of achievement which that civilization consequently had open to it. One of the reasons that The Birth of Tragedy, his first book, published when he was twenty-eight, created such a surge of hostility in the world of classical scholarship was that in it, whilst undertaking an investigation of what made possible the achievements of fifth century BC Greece in tragic drama, he felt it necessary to elicit the whole set of fundamental beliefs which the Greeks shared, and also to draw metaphysical conclusions from the fact that they were able to experience life in such a way that they needed great tragedies in order to endure it.

scholarly journals The Holkham Head.—A Reply

1914 ◽  
Vol 34 ◽  
pp. 312-320
Author(s):  
Charles Waldstein
Keyword(s):  
Fifth Century ◽  
The Other ◽  
Relative Value ◽  
The Right

In the last number of the Journal of Hellenic Studies (vol. xxxiv. p. 122) Mr. Guy Dickins begins his article on the Holkham Head and the Parthenon Pediment by saying that, before accepting my own arguments as contained in my article (J.H.S. vol. xxxiii, p. 276), ‘we have the right to demand from him [myself] some evidence on the following points:—(1) That there is reason to connect the head with Athens and the Acropolis,(2) That the material is identical with the other pediment marbles,(3) That the style is Pheidian, or at any rate fifth-century Attic, and(4) That it is an architectural and not an independent piece of sculpture.'I will not needlessly occupy space by repeating what I have already written fully in my article, and I will merely take Mr. Dickins's four objections seriatim and deal with them as concisely as possible; but I must ask my readers, after they have read Mr. Dickins's exposition of his views, again to read my article carefully in order to appreciate the relative value of the evidence furnished.

Danebury, Hampshire: Second Interim Report on the Excavations 1971–5

1976 ◽  
Vol 56 (2) ◽  
pp. 198-216 ◽  
Author(s):  
Barry Cunliffe
Keyword(s):  
Fifth Century ◽  
Second Century ◽  
The Other ◽  
Third Century ◽  
Interim Report ◽  
The Third ◽  
The Hill ◽  
Religious Nature ◽  
Continuous Strip

SummaryThe results of five seasons of excavation (1971–5) are summarized. A continuous strip 30–40 m. wide extending across the centre of the fort from one side to the other was completely excavated revealing pits, gullies, circular stake-built houses, rectangular buildings, and 2-, 4-, and 6-post structures, belonging to the period from the sixth to the end of the second century B.C. The types of structures are discussed. A sequence of development, based largely upon the stratification preserved behind the ramparts, is presented: in the sixth–fifth century the hill was occupied by small four-post ‘granaries’ possibly enclosed by a palisade. The first hill-fort rampart was built in the fifth century protecting houses, an area of storage pits, and a zone of 4-and 6-post buildings laid out in rows along streets. The rampart was heightened in the third century, after which pits continued to be dug and rows of circular houses were built. About 100 B.C. rectangular buildings, possibly of a religious nature, were erected, after which the site was virtually abandoned. Social and economic matters are considered. The excavation will continue.

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