The Bible is one of the books that has aroused the most interest throughout history to the present day. However, there is one topic that has mostly been neglected and which today constitutes one of the most emblematic elements of the visual culture in which we live immersed: the language of colour. Colour is present in the biblical text from its beginning to its end, but it has hardly been studied, and we appear to have forgotten that the detailed study of the colour terms in the Bible is essential to understanding the use and symbolism that the language of colour has acquired in the literature that has forged European culture and art. The objective of the present study is to provide the modern reader with the meaning of colour terms of the lexical families related to the green tonality in order to determine whether they denote only color and, if so, what is the coloration expressed, or whether, together with the chromatic denotation, another reality inseparable from colour underlies/along with the chromatic denotation, there is another underlying reality that is inseparable from colour. We will study the symbolism that/which underpins some of these colour terms, and which European culture has inherited. This lexicographical study requires a methodology that allows us to approach colour not in accordance with our modern and abstract concept of colour, but with the concept of the ancient civilations. This is why the concept of colour that emerges from each of the versions of the Bible is studied and compared with that found in theoretical reflection in both Greek and Latin. Colour thus emerges as a concrete reality, visible on the surface of objects, reflecting in many cases, not an intrinsic quality, but their state. This concept has a reflection in the biblical languages, since the terms of colour always describe an entity (in this sense one can say that they are embodied) and include within them a wide chromatic spectrum, that is, they are mostly polysemic. Structuralism through the componential analysis, although providing interesting contributions, had at the same time serious shortcomings when it came to the study of colour. These were addressed through the theoretical framework provided by cognitive linguistics and some of its tools such as: cognitive domains, metonymy and metaphor. Our study, then, is one of the first to apply some of the contributions of cognitive linguistics to lexicography in general, and particularly with reference to the Hebrew, Greek and Latin versions of the Bible. A further novel contribution of this research is that the meaning is expressed through a definition and not through a list of possible colour terms as happens in dictionaries or in studies referring to colour in antiquity. The definition allows us to delve deeper and discover new nuances that enrich the understanding of colour in the three great civilizations involved in our study: Israel, Greece and Rome.
This book offers a thorough analysis of demons in the Hebrew Bible and Septuagint in the wider context of the ancient Near East and the Greek world. Taking a fresh and innovative angle of enquiry, Anna Angelini investigates continuities and changes in the representation of divine powers in Hellenistic Judaism, thereby revealing the role of the Greek translation of the Bible in shaping ancient demonology, angelology, and pneumatology. Combining philological and semantic analyses with a historical approach and anthropological insights, the author both develops a new method for analyzing religious categories within biblical traditions and sheds new light on the importance of the Septuagint for the history of ancient Judaism. Le livre propose une analyse approfondie des démons dans la Bible Hébraïque et la Septante, à la lumière du Proche Orient Ancien et du contexte grec. Par un nouvel angle d’approche, Anna Angelini met en lumière dynamiques de continuité et de changement dans les représentations des puissances divines à l’époque hellénistique, en soulignant l’importance de la traduction grecque de la Bible pour la compréhension de la démonologie, de l’angélologie et de la pneumatologie antiques. En intégrant l’analyse philologique et sémantique avec une approche historique et des méthodes anthropologiques, l’autrice développe une nouvelle méthodologie pour analyser des catégories religieuses à l’intérieur des traditions bibliques et affirme la valeur de la Septante pour l’histoire du judaïsme antique.
The Bible is one of the books that has aroused the most interest throughout history to the present day. However, there is one topic that has mostly been neglected and which today constitutes one of the most emblematic elements of the visual culture in which we live immersed: the language of colour. Colour is present in the biblical text from its beginning to its end, but it has hardly been studied, and we appear to have forgotten that the detailed study of the colour terms in the Bible is essential to understanding the use and symbolism that the language of colour has acquired in the literature that has forged European culture and art. The objective of the present study is to provide the modern reader with the meaning of colour terms of the lexical families related to the green tonality in order to determine whether they denote only color and, if so, what is the coloration expressed, or whether, together with the chromatic denotation, another reality inseparable from colour underlies/along with the chromatic denotation, there is another underlying reality that is inseparable from colour. We will study the symbolism that/which underpins some of these colour terms, and which European culture has inherited. This lexicographical study requires a methodology that allows us to approach colour not in accordance with our modern and abstract concept of colour, but with the concept of the ancient civilations. This is why the concept of colour that emerges from each of the versions of the Bible is studied and compared with that found in theoretical reflection in both Greek and Latin. Colour thus emerges as a concrete reality, visible on the surface of objects, reflecting in many cases, not an intrinsic quality, but their state. This concept has a reflection in the biblical languages, since the terms of colour always describe an entity (in this sense one can say that they are embodied) and include within them a wide chromatic spectrum, that is, they are mostly polysemic. Structuralism through the componential analysis, although providing interesting contributions, had at the same time serious shortcomings when it came to the study of colour. These were addressed through the theoretical framework provided by cognitive linguistics and some of its tools such as: cognitive domains, metonymy and metaphor. Our study, then, is one of the first to apply some of the contributions of cognitive linguistics to lexicography in general, and particularly with reference to the Hebrew, Greek and Latin versions of the Bible. A further novel contribution of this research is that the meaning is expressed through a definition and not through a list of possible colour terms as happens in dictionaries or in studies referring to colour in antiquity. The definition allows us to delve deeper and discover new nuances that enrich the understanding of colour in the three great civilizations involved in our study: Israel, Greece and Rome.
Jazz Italian Style explores a complex era in music history, when politics and popular culture collided with national identity and technology. When jazz arrived in Italy at the conclusion of World War I, it quickly became part of the local music culture. In Italy, thanks to the gramophone and radio, many Italian listeners paid little attention to a performer's national and ethnic identity. Nick LaRocca (Italian-American), Gorni Kramer (Italian), the Trio Lescano (Jewish-Dutch), and Louis Armstrong (African-American), to name a few, all found equal footing in the Italian soundscape. The book reveals how Italians made jazz their own, and how, by the mid-1930s, a genre of jazz distinguishable from American varieties and supported by Mussolini began to flourish in northern Italy and in its turn influenced Italian-American musicians. Most importantly, the book recovers a lost repertoire and an array of musicians whose stories and performances are compelling and well worth remembering.
Myasthenia gravis is presently an incurable antibody-mediated autoimmune disorder characterized by generalized voluntary skeletal muscle weakness. The cause of the weakness is a defect at the neuromuscular junction level, in which autoimmune antibodies block the receptors responsible for initiating muscular contraction. Literally translated from its Latin and Greek etymological roots, myasthenia gravis means "grave muscle weakness". Fortunately, advances in modern medicine have resulted in a reduction of the truly "grave" outcomes for those inflicted but, without a cure, the gravity surrounding the disease remains
This book explores the in-depth relationship between historic-cultural heritage and landscape, urban, and regional planning. It analyzes recent cultural and discipline positions and addresses research to interpret legacy values and the necessity for conservation within the urban setting. It also presents a method that helps urban planners to implement the suggestions, based on extensive knowledge of topographic methods and urban archaeology, to enhance the shaping and planning of the historic and present-day city. A rapid evolution of techniques and methods that provide innovative planning instruments and contribute to conservation projects involving cities and territories is now being witnessed in urban planning. Actors involved in the planning process use an organic and multidisciplinary vision of techniques and methods to understand the relation between the historic-cultural goods and their settlement context. Through urban archaeology it is now possible to orient—in a systematic way—interventions in the historic centers of European cities and document the origin and evolution of the urban shape, to reconcile renewal demand and preservation of ancient heritage.
I examine the impact of macroeconomic uncertainty on labor market outcomes for skilled and unskilled workers and propose a new channel to improve our understanding of the underlying propagation mechanisms. I find that uncertainty shocks are recessionary with the unskilled experiencing a steeper fall in employment. To rationalize these findings, I build a New Keynesian DSGE model with skill heterogeneity and wage rigidities, which, coupled with precautionary labor supply, significantly amplify contractionary effects of uncertainty on the real economy.
Discusses new evidence of interactions between Scandinavia and Iberia during the Bronze Age and cross references warrior iconography in both societies. Recent research has uncovered new evidence of long-distance interactions between Scandinavia and Iberia during the Late Bronze Age. Advances in various lines of inquiry, such as 3D recording of rock art, iconography, metals and amber sourcing, linguistics, and, to some extent, more indirect indications from human remains, as reflected by strontium and aDNA results, have made this possible. The main goal of this book is to cross reference Iberian Late Bronze Age warrior iconography with Scandinavian warrior iconography. However, we will also account for links based on archeometallurgical evidence, linguistics, and other lines of inquiry, such as Baltic Amber, and metal artifacts. The results have been produced within the framework of the RAW project, an international undertaking funded by the Swedish Research Council. The RAW project is motivated by the discovery of isotopic and chemical evidence for Nordic Bronze Age artifacts made of copper that originated in the Iberian Peninsula. These findings led to re-opening two long known, but poorly explained, phenomena: 1) numerous shared motifs and close formal parallels in the rock art of Scandinavia and Iberian ‘warrior’ stelae, and 2) a large body of inherited words shared by the Celtic and Germanic languages, but not the other Indo-European branches. An integrated explanation for the three phenomena (Iberian metal in Scandinavia, parallels in Bronze Age rock carvings, and Celto-Germanic vocabulary) could now be formulated as a testable hypothesis: an episode in the Bronze Age when materials and ideas were exchanged over long distances between Scandinavia and the Atlantic West, including the Iberian Peninsula.
Una donna. Una donna innamorata e capace di sopportare tutto da un uomo che chiaramente non la merita e che fa di tutto per umiliarla, controllarla, sottometterne il carattere e la vita quotidiana stessa. Una storia che potrebbe essere come tante, purtroppo, ma che si dipana negli anni in un crescendo di persecuzioni e di maschilismo esasperato. Una donna che non cessa di amare, mai, e che avvolge di questo amore tanto il suo torturatore, quanto i figli che soltanto a tratti riescono a comprenderla. E, intanto, crescono la disperazione, la solitudine, la consapevolezza di donare senza nulla in cambio. Una donna comunque innamorata. Forse innamorata dell’amore.
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