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How can a conference as large and diverse as the first conference of the History and Translation Network in Tallinn in May of 2022 be adequately represented and remembered? To archive, share, and promote the multiplicity of topics and approaches that came together, we invited panel chairs and, in some cases, panelists to write short texts about their panels. These now form a conference mosaic as tiles. As is often the case with a mosaic, the tiles vary in size and style, with some leaving a blank space. From time to time, tiles in different languages remind us of the multilingual reality of the research subjects, the researchers, and also the conference. The texts have been arranged in three overarching categories: methods & approaches, actors & themes and time & space. We thank all contributors for their efforts and hope readers enjoy browsing the mosaic. Edited by Chronotopos, contributors of texts are named below each text.

The paper deals with the representation of Arion on the monumental floor mosaic in one of the most representative rooms of the Roman Villa del Casale in Sicily, dating from the beginning of the 4th century (fig. 1, 2). It is special in many respects. It is the most monumental and magnificent representation of Arion in ancient art. Arion is depicted in the central part of а complex mosaic consisting of many scenes, figures and motifs. He is sitting on a dolphin and playing music on his instrument. The dolphin motif in this scene is unique and not examined in the literature, leaving much room for research. To our knowledge, it is a unique example of a dolphin ridden by Arion, shown hunting its prey, which is certainly not a coincidence or a descriptive detail of the artist, but a reflection of his knowledge and the clear intention of the patrons of the mosaic. On the contrary, this detail subtly explains the meaning of the entire mosaic illustrating the story of Arion and the reasons for his appearance. It suggests that the owners of the villa either belonged to the highest Roman aristocracy of their time, or perhaps were even related to the imperial family. By examining the history of the specific dolphin motif it is shown that this detail bears the symbolism of victory, thus, corresponding to the meaning of the Arion mosaic and other mosaics in Villa del Casale.

In the retrospective panorama of comparative studies experience, attention to ekphrasis seems to be more and more intense. The multifaceted phenomenon of ekphrasis does not lose its relevance over time. Vivid ekphrastic features are observed, in particular, in the epic novel “Wonder” written by Pavlo Zahrebelnyi, a prominent figure of Ukrainian literature. The purpose of the investigation is to select the fine arts ekphrasis features in the novel by Pavlo Zahrebelnyi, as well as to highlight the formal and semantic dimensions and the overall semantic configuration of the expressed poetics. The study is based on the methods of cultural-semiotic and structural-semantic analysis in combination with descriptive and comparative-typological approaches. In the visual material of Zahrebelnyi`s novel “Wonder”, the poetics of multidirectional multidimensional ekphrasis is observed, in which, according to the criterion of the image carrier, the actualization of several types of visual art is distinguished, in particular decorative and (related to it) monumental one, and their types: artistic carving, fresco painting and mosaic. In the descriptions there is a gradual development with a noticeable transgression of the content of the represented works and, therefore, the content of the ekphrasis itself. In the structure of the work their selected defining features are obviously related to one of the key organizational phenomena, one of the central symbols inherent in the “Wonder”: ekphrases in its general architecture are connected by integral elements belonging to the sphere of the internal form. Such connecting elements are cross-cutting for ekphrasis, key for the novel, tangential images-symbols of the creator, his skill and art in general, which causes the integration of expressed ekphrases into a single composite complex. In it the meaningfulness of the ekphrasis in the poetic field of the master turns out to be equal to his artistic destiny, through the fresco-like combination of the described achievements features emerge the lines of inspired children`s creative maturation, youthful strengthening and ultimately artistic work are drawn, in which the apogee of the artist’s talent, in all its polychromy, is finally reached: in essence, in purpose and meaning. In its turn, in the discreteness of the descriptions indirectly reveals the dynamics of its evolution, the amplitude of which from the seed of inspired abilities reaches the exuberance of an all-powerful philanthropic mastery, sensual and sensitive, insightful, frank, caring, which overcomes existential reflections in its longing for the good, bringing creativity closer to life-affirming thought. And all these phases have one common quality: humanity is imprinted in each of them. With the isolated potential of ekphrasis, the poetics of the novel rises to the horizons of the creativity existence idea and achievements of an artistic genius for “creating a temple”, in particular in the human soul, and from this semantic palette emerges a kind of “glorification of artistic skill” not only by the perfection of its magnificent creations, but also primarily by imprinted in them love for life and the world, singing of beauty, equivalent to the unity of goodness and humanity. In this way, the highlighted experience of ekphrasis obviously strengthens the expression of humanity in the axiological dimensions of civilizational assets in Pavlo Zahrebelnyi`s novel “Wonder”.

Automated workflow systems provide the ability to perform standardization and analysis during the printing stages, To know the weaknesses or problems facing this procedure and thus overcome them to ensure the flow of the printing process. The workflow can be seen as any abstraction or model of the real work that helps the mechanism of developing workers in the organization to reach the full advancement and the required degree in the workHP Smart Stream are one of the preprint workflow systems that are used with Indigo printing machines, which is a set of graphic tools that help in finding workflow solutions for print production to meet the needs of the market and provide the applications it needs. It provides a workflow from start to finish. It is an effective and simple tool for variable data printing (VDP) that enables owners of Indigo to increase high value jobs and implement special personalized designs.One of the most important features of HP smart stream is the mosaic technology, which is a technology that allows creating an infinite number of variable designs from one database and the same pattern (pattern) and makes them from the same family through scaling (controlling sizes, rotation and position...).Mosaic technology can be applied by using those systems for indigo machines for digital printing to obtain an infinite number of unique designs from the same design of the original file and have the same identity, which is reflected in the local and global market and has a positive impact on the purchasing power of the product.The research dealt with employing one of the modern digital technologies within HP smart stream and for its most important potential in the field of designing packages with an Arab identity suitable for small industries

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is dedicated to the concept of divine light, which has always been a matter of particular attention in the Orthodox religion. Since the earliest monuments of the 11th century, it has been clearly remarked in Ukrainian art, both in mosaics and certain icons. Over the centuries, the artistic language has changed and the light acquired a different manner of realisation. It became particularly evident in the monuments of sacral art of mature baroque, which was also connected with the development of theological and scholastic scholarship in Kyiv. Then, icon painters have found some new ways of depicting divine light, rendered by applying different artistic means.

After years of illicit digging and demolition a church has been excavated in Parnassos of Cappadocia, situated at the border to Galatia, between Tuz Gölü and Halys. It is the first excavation in Parnassos, and a three-aisled basilica with formidable mosaics as well as a building inscription came to light, the latter giving us a glimpse of the church hierarchy in late antique Parnassos. Mosaics are very rare in Cappadocia. The impressive and highly decorated floor of the main room depicts several animals, trees and plants in paradise. It is a motif often used in Cilicia and Syria in the 5th century. A mosaic inscription is placed in the centre, naming three men who were connected to the construction of the church, including a bishop called Eustathios. Also a date is given as year 494 in the 15th indiction. There are several possible interpretations, but we suggest the church was built in 462 and Eustathios is to be identified with the already well known bishop who actively participated in the theological debates of his time.

The abundance of gilding is considered to be a particularly characteristic feature of Byzantine art. This attribute can be confirmed by even a cursory analysis of works of art. In short, Byzantine artists used gold on a large scale, showing great technical skill. It is therefore quite surprising that this issue has not yet received a separate, comprehensive study. Admittedly, researchers recognize the presence of gold but unfortunately, they almost do not go beyond general observations. On the one hand, they emphasize the primary role of the symbolic meanings of gold, and, on the other, they indicate the high material value of this precious metal. These comments are usually very general and their authors rarely refer to specific primary sources. Their observations, however, speak more about present-day ideas about Byzantine culture than about it itself. The indicated problem is an important and extensive task to be done, hence this paper is only an outline of the most important questions, each of which requires a separate and in-depth study. Therefore, this synthetic article introduces the most basic points associated with the understanding of gold in Byzantium. For this purpose, selected examples of Byzantine texts in which their authors referred to gold in a strictly artistic context are analysed. Thus, the main thesis is as follows: in Byzantine painting, gold, one of the most important devices of artistic expression, was used on a large scale primarily for aesthetic reasons.

The aim of this article is to introduce three mosaic inscriptions and an inscription fragment of a pedestal, unearthed during the excavations carried out in the stoa in front of the Olmpeion odeion between 2011 and 2014 in Cibyra. As it is understood from the inscriptions, the mosaic floor, approx. 550 m2, in front of the monumental entrance of the odeion in a north-south direction was decorated in mosaic flooring by Aurelius Sopatrus and Claudius Theodorus, sons of Epancrates from one of the leading families of the city. It was carried out chronologically between 249-254 AD (according to the Cibyran era, 226-231). The first inscription includes the philanthropists promise to adorn the floor with mosaic in front of the odeion (249 AD); The second is to start the mosaic flooring in the same year. The last is to fulfill the promise completing the mosaic floor in front of the odeion (254 AD). Through the inscriptions, it is understood that the Cibyran odeion was called “Olympeion”. Other than this, new persons relating to the provincial priesthood of Asia are documented. Finally, a fragment of an honorary inscription is introduced which is thought to have been used for typogenic material dating to 243/252 AD.

New Osrhoene Mosaics Discovered In Situ in Northern Syria In 2017, a mosaic was discovered in a plain near Tell Shioukh Tehtani, located 60 km northeast of Aleppo in the Euphrates Valley and is known for remains from the Bronze Age found by an Italian-Syrian archaeological mission. The mosaic was found during a clandestine excavation carried out before 2017. The Directorate of Antiquity in Damascus which was informed by the local society sent a team of restorers who excavated and documented all the floor mosaic before removing it to the service of antiquity at Al-Hassake province. The work of the restorers has shown that this mosaic is the remains of the pavements of a private villa. The drawing plan done by the restorers shows a part of this building composed of several rooms and a corridor. All these parts are paved with mosaics, some of them was in situ, others were looted. The apse main room is paved with a mosaic around a basin in the center; there remains only one carpet figured by the Achilles scene in Skyros; the figures are identified by inscriptions in Syriac. In another room, there is a mosaic around a basin in the center representing a foliage of vine coming out of the vases with four Eros. The mosaic of the corridor is decorated with geometric patterns. The stylistic study shows that these mosaics are very close to those found at Edessa (Urfa) and dated to the 3rd century AD. This mosaic has an exceptional importance because, on the one hand, it attests the diffusion of the Edessa mosaics workshops outside the city and its region, and on the other hand, it gives an idea on the decoration of the mosaics in the public buildings in this region in Roman times.

This article examines the mosaics of the contemporary artist Lilian Broca. Broca has completed two monumental mosaic series, with another underway, on the biblical figures of: Esther, Judith, and Mary Magdelene. Through mosaic Broca explores women and their relationship to power in the ancient world. Broca notes that throughout ancient history the worth of women has been evaluated through the lense of beauty and chastity. Broca researched ancient text extensively to uncover examples of women who were atypical of this paradigm: women who spoke truth to power and transgressed the accepted boundaries. Her work illuminates the manner in which these women navigated, and even exploited the loopholes in ancient society, enabling them to exert their influence on the masculine domains of power. Broca utilizes the medium of mosaic, since traditionally, it was a medium patronized by the most wealthy and privileged of ancient society. They were the sector of society who determined which stories would be most broadly disseminated and ultimately survive. Broca’s work is postmodern employing both the concepts of temporality and axiology. For Broca, time and history are fluid. By utilizing the predominately masculine medium of mosaic to tell feminst stories she strives to resolve history’s sins of omissions and the general absence of the female perspective in ancient history. Finally, Broca notes that the media and placement of ancient monumental art has done much to elevate the stories of male heros above women. In this regard, she reflects Paul Veyne’s concept of axiology, a term which enables social historians to evaluate the fluctuating value of social trends and historic objects. Broca suggests that by inserting a female narrative into ancient monumental art forms such as mosaic the stories of ancient women will finally be accorded with the same dignity and respect as their male counter parts.

The aim of this article is to propose a new interpretation of a fragmentary mosaic pavement from Antioch depicting Psyche (Antakya, Mus. Hatay 892). Using the “Tale of Cupid and Psyche” in Apuleius’ Metamorphoses (IV, 28-VI, 24), we argue that Psyche is represented at the key moment of the story. For the light of the lamp she is holding has just revealed to her the identity of her mysterious husband as being Cupid himself. Two main iconographical features differentiate this mosaic from other, standard representations of Psyche: she is neither naked nor wrapped in loose veils, but she appears entirely covered in light colour clothing, and she does not bear butterfly-wings but ones made of feathers. The mosaic has been dated of Trajan’s reign on the base of archaeological evidence. If this date is correct, then it cannot relate to Apuleius himself, as his novel was written in AD 160s. The mosaic would therefore be an early example of the iconographical fortune of the original tale, known in the Greek of Aristides of Miletus or in a Latin translation. One can otherwise hypothesize a later date for the mosaic, which would then make Apuleius stand as a possible terminus post quem.

The Galla Placidia Chapel in Ravenna, or globally known as the "Mausoleum" of Galla Placidia, is renowned for its exceptional mosaic decorations covering the surfaces of its interior walls. The entrance of the chapel represents a dramatic transition from the humble exterior to the grandeur and majesty of the interior; the chapel has retained its entire interior decoration program, which is uncommon for buildings from late antiquity. This cross-planned chapel still raises many Issues and questions that are difficult to answer decisively as a result of the lack of any contemporary documentation, so it remains purely hypothetical. The interpretation of central vault mosaics of the chapel is one of the most important issues that have long occupied the scholars over the years due to the ambiguity and distinctiveness of its elements with regard to the iconographic traditions of the time, as it is the predecessor of a decorative subject that will continue over time in the early Christian structures. The central vault mosaic consists of 567 golden stars arranged in concentric circles against a dark blue background, all orbiting a Latin gold cross represented at the vault apex, while floating, over the heap of the clouds, in the pendentives area, winged bust-figures represent the four living creatures around the celestial throne. Although the blue dome covered with stars is a decorative element known both from Roman art and even from ancient Egyptian art before it, but its significance here with the inclusion of the golden cross in the middle of the vault was not clear, especially since the meaning of the cross itself is disputed and Its orientation to the east and non-following the axis of the chapel reflects many meanings. Therefore, this paper aims to describe and analyze the artistic composition of the central vault mosaics, try to understand the meanings of its elements, and comparing it with other similar decorative elements, whether earlier from the old Egyptian and Roman times or later from the early Byzantine era.

Writing to Ezra Pound in May 1948, Marshall McLuhan told the poet that, “we [that is, Hugh Kenner and I] have long taken a serious interest [in] your work.” And so, McLuhan along with Kenner visited Pound at St Elizabeths in June 1948. The rest makes for interesting modernist literary and cultural studies history. This paper argues that McLuhan’s method of composition, which he called a “mosaic,” derives from his understanding of Pound’s poetics of the ideogrammic method. In The Gutenberg Galaxy: The Making of Typographic Man (1962), McLuhan explains that the book “develops a mosaic or field approach to its problems. Such a mosaic image of numerous data and quotations in evidence offers the only practical means of revealing the causal operations in history.” McLuhan learned much from the American poet, including to view literature/pedagogy as “training of perception”; and both developed texts that placed readers in media res, encouraging an heuristic approach to “reading” whereby readers are empowered to arrive at their own meaning or interpretation irrespective of the writers’ ideology and/or agenda. Using examples from The Cantos and The Medium is the Massage: An Inventory of Effects (1967), this essay also probes the relationships between modernist aesthetics, technological prophesy and sociopolitical praxis.

The Lod mosaic, discovered in the city bearing that name in Israel, was laid in a luxurious villa urbana in the late 3rd or early 4th century AD. It contains inter alia a nautical scene presented as a foor carpet in the form of a pond. The scene includes sea life and two ships. One is sailing freely while the other, facing the opposite direction, is becalmed and perhaps in distress. The scene, in that place and time, symbolized the penetration into this country of the sea-oriented Greco-Roman culture. The pond containing the sea life and the vessels conveyed the idea of the sea, full of life, as a representation of the world organized by its creator. The scene details of the sea symbolize the truism “big fsh eat little fsh,” which also appears in contemporary literature. The vessels symbolize life as a sea voyage, also refected in contemporary sources. The two ships affected contrarily by the same wind suggest the metaphor that a beneft divinely granted to one may be undesirable to another, and that it is impossible to appease everyone all the time. Such ships could also present additional ship associated symbolic concepts. To the modern observer the pond and its contents look as if they were purposefully and successfully designed to ft most cultural backgrounds of contemporary viewers, be they Jews, Christians, Samaritans or pagans.

Up to now, two workshops have been identified in South Sardinia, at Nora, but the recent discovery in the surroundings of Cagliari of two late polychrome mosaics, one at Sarroch, the other at Settimo San Pietro, yielded new data, increasing our knowledge. Both of them present the same patterns - a chevrons rainbow style pattern and an orthogonal pattern of adjacent imbricated scales - and strong similarities in the style, while nothing similar has been found in the whole Sardinia; an unknown, common workshop can therefore be assumed. But the floor at Settimo San Pietro includes a third panel which shows a geometric mosaic “à trame végétalisée”, exactly alike to other two which were found in Carthage and Maiorca, and we can assume a Carthaginian origin of this pattern. So, can we think to only one workshop for the three floors, even for the panel with chevrons and adjacent imbricated scales, and for the mosaic at Sarroch too? And responsible for these mosaics could be African itinerant workers or Sardinian craftsmen, with African models at their disposal? Literary, documentary and archaeological sources witness for the existence of cartoons and pattern books in the ancient world, but we know for sure that itinerant craftsmen too existed. The present study will debate and analize the different working hypotheses, but the answer is not yet possible, and we have to wait for more archaeological data and findings.

Germanicia has been hosted by many civilizations since Antiquity and is located in the Kahramanmaraş province at the intersection of East, Southeast and Mediterranean Regions. Even though the localization cannot be done completely, it is thought that the city was located on the southern hillsides of Ahir Mountain in 2339 meters high. It is thought that the ruins discovered at the district of Dulkadiroğlu, located in the east of Kahramanmaraş city center at the beginning of 2000s, may belong to Germanicia ancient city. It is known that Germanicia was an important episcopal city in the Early Byzantine period and many bishops such as Eudoxius, Nestorius, Suras, Salamanes (Salamias), Anaphora Thomas and John were called “Germanikeia” Agnomen. The villa room and corridor mosaics mentioned in the article belong to the Early Byzantine Period. The founds in the district of Dulkadiroğlu were unearthed in the archaeological excavations in 2001 and 2016. Various plants, domestic and wild animal species were depicted together on these mosaics. These mosaics give us information about fauna and flora of Germanicia. The mosaic that forms the subject of our article and animal depictions had importance in Roman art since the 1st century BC. Village life, nature, animals and hunting scenes (Emblemata) began to appear on mosaics in North Africa in the 2nd century AD, in Anatolia, Europe and Adriatic in the 4th century AD and later. However, the meaning of these themes changed in the Jewish and Christian communities and were perceived as religious symbols. Village life, nature, animals and hunting scenes are associated with stories in the Old and New Testament.

Alexandria, Rome, and Constantinople were important cities during the Roman– Byzantine periods but quite little is known about the wealth of Antioch in the same periods. The rich and expansive life of Antioch in the 4th century AD is mostly known from the Letters and the Orations written by Libanius. The present paper will not cover all aspects of Antioch and its beautiful mosaics. The boat depicted in the Thalassa mosaic from Yakto Upper Complex and dated to the middle of the 5th century AD (the subject of this paper) may represent a unique depiction of a dugout. Such a vessel is rarely depicted in any arts and especially on mosaics. Dugouts are an earlier type of watercraft dating from Prehistoric times until the 21st century, and still in use all over the world. Representations of boats in any arts and especially on mosaics, as a simple method of transportation, carrying light cargoes, or the utensils for fishing, are also used as a symbol or apotropaic of the place where such scenes are depicted, as well as the welfare of the owner of the house.

This work is dedicated to the memory of Professor José María Blázquez with whom I had a close friendship and whose wise advice helped me to continue my research into the field of mosaics. I will focus on the Hispanic mosaics of Castilla, Aragón and Navarra. We know that gods invoked in thermal spaces ranged from the nymphs to Apollo, Minerva, Jupiter, Juno, Fortune or, for quite some time, even Bormanicus. The image of Medusa was also regarded as the carrier of healing blood, which was kept in the veins of her right arm, and that would be used by Asclepius in his resurrections. On the other hand, it is not unusual to find mosaics with the image of Medusa associated with the gods of hot springs. Objects such as shells, craterae, jars and jugswere part of its symbolic repertoire,which is, in turn, an inexpensive way to represent otherwise more elaborate motifs. In Hispania the said associations are traces of former pre-Roman cults, which would later syncretise with those beliefs imposed by the Roman civilisation. The fact that the higher concentration of mosaics displaying craterae, shells, etc. are located at specific enclaves where waters can be often found in situor not far from the location led us also to believe that there is a connection between the ornamental motifs of mosaics and the curative waters. It will be through this analysis that we will clarify this approach.

This paper analyzes a representation of Pothos in a mosaic auctioned in the antiquities market, –from a private collection after being acquired at Asfar Brothers, Beirut, in the late 60's. -, today in J. Bagot ArchaeologyAncient Art in Barcelona. More specifically, we will discuss, its interpretation within a scene related to Pelops and Hippodameia. Even the three characters are represented, with an unusual iconography, their identification is undoubtedly established on the base of inscriptions in Greek. To proceed with this discussion, this study analyzes the ancient literary sources and the images of Pothos depicted in the other mosaics, among others, on a mosaic of Pelops and Hippodameia from London antique market in 1979, that had been part of a private collection of California until the 1990s, being auctioned at Christie's in New York on 2010, and in the mosaic of the Weddings of Dionysus and Ariadne from Philippopolis. In connection with the references of some literary sources, the representations of these two mosaics are very revealing to understand the mosaic scene currently conserved in J. Bagot.

This paper is a comprehensive study of the Roman mosaic named “the Loves” found in Cástulo (Jaén, Spain) in 2012, which is conserved in situ. The pavement shows a known variation of the so called compass design, much appreciated in the mosaic art of Baetica. Here it consists of two central circles instead of one, around which six half circles, four quarter circles and six squares with concave sides are placed. The repertoire of scenes consists of allegoric representations. Placed inside the four circles in the corners of the mosaic, are the busts of the Seasons with their characteristic attributes as symbols of the passing of time and the fertility of the year. This is a motif widely spread among Roman mosaics and especially in Baetica. The six squares with concave sides show representations of mammals, both herbivores and carnivores. While the half circles show putties in different poses, all with the peculiarity that their necks are invisible according to a fashion in the mosaic production of Baetica in the second century AD. One of the central circles of the mosaic shows the Judgement of Paris, which is represented in two planes. The other circle shows the myth of Selene and Endymion. Here the goddess appears at the side of her carriage drawn by two horses; an iconography which constitutes an exception in this series of representations. The technique of the pavement is of high quality, particularly concerning the mythological scenes; the use of colour to create background and mark the different planes is eminent.

Although the myth of Pelops and Hippodamia became very popular in the classical mythological tradition, to date, representations of it have been scarce. The few existing examples consisted of the sculptural ensemble of the pediment of the Temple of Zeus at Olympia, some 3rd century sarcophagi, and a number of ceramic vessels. The sole mosaic representation was that held by the Museum of Damascus. However, in recent years, the number of mosaic representations has greatly increased. The discovery of the mosaic at Noheda, featuring, for the first time, the entire narrative sequence of the myth, coupled with the discovery of a possible new specimen, in which Pothos is portrayed as a main character for the first time, not only makes it possible to reconstrue hitherto misinterpreted ancient tapestries, but also furthers understanding of the legend’s iconography in Classical Antiquity.

En este artículo, mediante una revisión teórica, se analizan las prácticas inclusivas más eficaces implementadas con alumnado con Trastorno por Déficit de Atención e Hiperactividad (TDAH), haciendo especial mención al modelo Making Socially Accepting Inclusive Classrooms (MOSAIC) y a la mediación entre iguales como elementos fundamentales de trabajo del aprendizaje cooperativo y las prácticas inclusivas en las escuelas. Finalmente, se hace hincapié en la utilización de las Tecnologías del Aprendizaje y la Comunicación y otras metodologías globalizadoras con grupos de alumnado con TDAH.

Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin de la Societe Zoologique de France is the property of Societe Zoologique de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Bardo Museum in Tunis currently holds one of the very rare representations in mosaic of the prophet Daniel in the lions’ den. Discovered at Borj el Youdi (Furnos Minus) in 1898, and probably dating to the fifth century, this mosaic is highly distinct in its conception, standing apart from representations of Daniel which were very popular in North Africa in other media, especially ceramics. I argue that while the mosaic does draw on standard iconography of Daniel, it also explicitly refers to amphitheatre spectacle, and especially to damnatio ad bestias to which earlier Christians were subject. This mosaic much more graphically than other representations of the story shows Daniel as a Christian martyr, and in doing so reflects the fourth-fifth century north African context when the Church was split by sectarian strife between Catholics and Donatists, the latter of whom viewed themselves as the Church of the Martyrs.

As the Latin phrase in the above title says, the passage from paganism to Christianity does not arise ex machina, but it is also prepared through the continuous experience of religiosity in pagan contexts. There is a preparation that is said to be evangelical, because little by little and in many ways, the Christian Good News reaches the whole Roman Empire. This is visible in the evolution of classical art, especially in the mosaic, with the best examples, among other significant myths, of Orpheus’s story. Hence the importance of new approaches to classical myths, namely in their representation in opus musivum.

Aiming the construction of a new hotel (Hotel Cais de Santarém) using the previous basement of the large storage known as Sommer, located in Rua Cais de Santarém, nºs 40 up to 64, and limited by Rua de São João da Praça northwards and by Travessa de São João da Praça eastwards, in the city of Lisbon, a large amount of archaeological contexts were uncovered that uniquely illustrate the stratification of the city of Lisbon between the Iron Age and the first half of the 20th century. Concerning Roman urban contexts was found a domus with rooms well preserved with painted walls plaster and a pavement covered with mosaic. In this paper the authors will present the monument and further discussions will take place on excavation levels, iconographic and architectural features.

This article reassesses mosaic programmes in domestic contexts and in private spheres in the houses at Zeugma and in some other Greco-Roman cities. The starting point of the argument in the article is a mosaic inscription which was found in a Roman house in Zeugma. The mosaic pavement itself decorates the floor of a chamber decorated with geometric patterns and the inscription in the middle. The inscription is an epithalamium, a wedding song, written for a newly-wedded couple, probably residents of the house, whose names are also partly preserved in the poem. The inscription suggests that the theme and iconography of the mosaics and frescoes in public dining rooms and private rooms in the domestic context are associated with the stories of the gods, goddesses or other well-known couples related to the concept of ideal marriage in mythology and in literature. These marriage-related themes are accompanied by images of Dionysiac domesticity and Bacchic frenzy. This article proposes that many of these mosaics, which are much more permanent than the rest of the decoration, may have been commissioned as part of marriage preparations, perhaps as gifts to the wedded couple. The subjects are chosen according to the intellectual background of the house-dwellers and their milieu, from literary and mythological narratives that are meant to protect the new family’s happiness and union, serve as a reminder of marriage and symbolize the perpetuity of the family’s progeny and its prosperity.

The Settlement of Mértola dates from at least the end of the second or early first millennium BC. In the so-called Iron Age, possibly in the third century BC, a walled enclosure with a total length of about 4 kilometres was constructed. This is equivalent to a fortified area of 173 acres. During the period of Roman domination, the city of Mirtylis minted coins and was an important trading port with an important set of structures, such as the forum or the castellum, some private residences and production sites within its walls. In the late forth century AD, when Christianity became the official religion of the Roman Empire, important civil structures were built in Mértola, such as the tower near the river, and religious facilities such as funeral basilicas and a mausoleum. The sacred area developed on the platform of the old forum where, together with two imposing baptisteries, the mosaic fragments were found. Despite the scarcity of dating elements for the mosaics in Mértola, it would appear that they belong to the sixth century, a historical period in which the members of the community were buried with their epitaphs written in Greek, possibly because of the influence of tastes and fashions from the Byzantine East. During this and the next century, two important basilicas and a mausoleum were built in the suburbs of the city. On the forum, a set of religious buildings would therefore mark the Christian topography of Mértola.

The Roman Villa of São Simão, part of the ancient municipium of Conímbriga, in the province of Lusitania, is located in the area correspondent to the churchyard, public road and lands adjacent to the Chapel of Our Lady of Grace, in São Simão, within the fertile valley of the Dueça River, in the municipality of Penela, district of Coimbra. The mosaic pavements uncovered in 2001 together with the newly discovered mosaics identified in 2015 and the remaining set of in stucco wall coverings reveal an impressive occupation whose study reinforces and brings new information about the Roman rural rule of this territory. A preliminary study of the mosaic pavements is presented taking into consideration the decorative motifs depicted, the state of conservation and the interventions made in situ during the archaeological excavation.

The original floors of the courtyard and room with apse (frigidarium?), recently uncovered at the Great Bath Complex in Antiochia ad Cragum, one of the better preserved structures of the ancient city located along the Mediterranean coast of western Rough Cilicia, are covered with mosaics. Only a few fragments of the room with apse mosaic have been preserved, but the courtyard mosaic has remained largely intact. These mosaics, consisting of panels and borders, contain a wide variety of geometric motifs. The geometrical patterns seen here have been encountered in Roman mosaics throughout the entire Mediterranean basin from the Middle East to the Iberian Peninsula. However, in terms of motif and technique, the closest similar examples of this third century AD mosaic of the courtyard can be found in Anatolia, including in particular the region of Cilicia.

The Marina el-Alamein Archaeological Project concentrated on excavating the area inthe northern part of the harbor town, where a street (S1) existed, running north–south toward theharbor, lined by buildings on both sides. A test trench was dug across it to study the stratigraphy.It helped to identify several street levels and at least two major building phases in this area. One ofthe structures (H39) contained a hypocaust furnace that led to the building interpreted as a bathhouse.A pebble mosaic was uncovered immediately west of the furnace. Opposite Building H39and across street S1, there was a large and richly furnished residential house (H42). It encompassedtwo paved courtyards, which were in use in the first half of the 2nd century AD. Three seasons ofexcavations (2012, 2013 and 2014) were followed by a season devoted in its entirety to documentationof the pottery and other small finds from the excavations and checking of the documentationfrom earlier seasons.

A vegetal symbol often found on the mosaics of North Africa has been interpreted, since Paul Gauckler, either as figuring millet (milium), a dry cereal existing in ancient Africa, or as representing reed (harundo), often found in humid places of the Mediterranean landscape. From almost one century, the archaeological literature of the latin countries has finally adopted the millet as a constant interpretation, even in the most recent publications. The authors of this paper take thoroughly in charge the examination of the problem, which is important to solve, because this vegetal symbol is used by one or more factions (factio) in the context of the circus, as well as by more than one sodality (sodalitas) contrasting in the amphitheater games, especially that of the Leontii. The authors reach the conclusion that, in spite of similarities between varieties belonging to both families of vegetals, this symbol cannot be understood as representing millet, linked with drought, summer and agriculture: it has, without any doubt, to be interpreted as reed, which explains its constant association with winter, waters, humid places as well with scenes of hunt in the wilderness.

По описаниям в каталогах Минерального кабинета Кунсткамеры прослежено какими значениями в собрании минералов XVIII в. наделялись несколько плакеток флорентийской мозаики и как эти значения менялись. Рассматриваемые флорентийские мозаики в современном Минералогическом музее им. А.Е. Ферсмана РАН входят в коллекцию Поделочных и драгоценных камней, иллюстрирующую применение природного камня в искусстве, а в XVIII в. они обладали научными «минералогическими» значениями и отсылали к важному сюжету играющей Природы. Это их значение исчезает из описаний коллекции Минерального кабинета в 1788 г., однако нарратив lusus Naturae до настоящего времени сохраняется в устной музейной практике. In this article we trace how several plaquettes of Florentine mosaics have been interpreted in the catalog descriptions of the Mineral Cabinet of the Kunstkamera in the eighteenth century and how these interpretations changed. The Florentine mosaics considered here are currently housed in the modern A. E. Fersman Mineralogical Museum of the Russian Academy of Sciences in the special Сollection of Gems and Decorative Stones that serves to illustrate the use of natural stone in art. However, in the eighteenth century the mosaics carried scientific “mineralogical” meanings and illustrated the important theme of “playful nature.” This meaning disappears from the descriptions of the collections of the Mineral Cabinet in 1788, but the narrative lusus naturae is preserved in the oral tradition of the museum.

Introduction: Vascular lasers are recognized second line methods for treating warts. The aim of our study was to evaluate the Nd:YAG laser delivery which is a deep vascular laser in the treatment of warts resistant to conventional treatments in children. Patients and methods: This was a prospective one-year study in patients with conventional treatment-resistant warts. The Nd:YAG laser treatment parameters were those of photothermolysis after local topical anesthesia. All the children benefited from one or two laser sessions. The evaluation concerned pain and disappearance of warts by clinical and dermoscopic examination. Results: Ten children were retained with a year-long decline in the study. Four plantar, three palmar and three perineal cases. The clinical forms were one case of plantar myrmecia, three cases of plantar mosaic warts and six cases of common warts. All the warts had disappeared. The tolerance of the pain was good. The recurrence-free recession is one year. Discussion and conclusion: Photothermolysis induced by the Nd:YAG laser on warts results in destruction of the dermal feeder vessels of the wart and keratinocyte necrosis. It has made it possible to effectively treat periungual warts, mosaics, myrmecies, and recalcitrant forms because of its deep wavelength. [ABSTRACT FROM AUTHOR]

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The present article refers to the geometric analysis of the floor mosaics in a Reception Hall of the ancient city of Metropolis. In the course of this analysis a geometric plan of the mosaic frame was elaborated, while at the same time the geometric shapes and the geometric origin of some floral pattern were revealed and its standard drawing procedure was determined. Using a theoretical argument for the relation between the geometric plan and its execution as well as for the figures’ construction order, preliminary assessments were performed before the measurement. As a consequence significant differences between the ratios of the planned and the measured lengths of the pavement could be detected. It was with the use of these ratios that an estimation of the mosaic sections’ construction order was made. Furthermore, there were observed the reflection of mathematic knowledge in the mosaic, the relation between the repeated figures and the Pythagorean theorem as well as the relation between artistic functions and reasoning methods. It is obvious that mosaic artisans skilfully based their work on a profound knowledge of geometry. In this article is shown that through the geometric analysis of mosaics further scientific results within the fields of mosaic research, restoration and conservation, history of art, history of mathematics and archaeological studies in general can be achieved.

A mosaic was discovered in 2007, in a funerary chamber at Frykia village in northern Syria, by the excavation service of the Directorate of Antiquities and Museums of Syria. This mosaic presents an interesting scene consisting of two columns with a pair of animals facing each other next to a fruit tree. The study of the decor suggests that this mosaic belongs to the 6th century B.C. and that the iconographic theme is inspired by Isaiah 11:6 concerning the animal kingdom of peace and is rendered according to the Syrian tradition of mosaic art from the 6th century. The representation of this topic in a mosaic belonging to a funerary chamber has a significance, regarding the Christian interpretation of life after dead.

Most of Roman archaeological sites in Morocco contain many mosaics, it offers significant pavements decorated with the majority of architectural buildings components different archaeological sites of Morocco. Petrographic and mineralogical analyses of tesserae coming from some of Roman mosaics in Volubilis, and Lixus, archaeological sites have revealed the petrographic nature of the rocks used in the decoration of different tessellata. The knowledge of petrographical characteristics of these tesserae represents an essential step to understand mechanical properties of the used materials, their weathering processes and the location of their origin. This comparative study carried on natural materials used in roman mosaics tesselata in some archaeological sites give us ideas about the provenance of building materials and the movement of materials in Morocco and in the Mediterranean region. This study will also provide solutions to guide professionals in the choice of interventions related to the restoration and conservation.

The city of Apollonia, located to the South-west of modern Albania, was founded in 588 B.C. by Corinthian and Corcyrian people, and was later described by Cicero as an admirabilis urbs. In 44 B.C. when Augustus and Agrippa were studying rhetoric in Apollonia, they got to know of the killing of Caesar and were helped by the local people to return to Rome and take the power back. The city, located on the right bank of the river Aoos, only 12 km from the sea, was a crossroads and a filter for different cultures: Illyrians, Macedonians, the Greeks and the Romans have inhabited the territory over the centuries. The domus, dated between 2nd and 3rd century A.D., represents the connection of the “residential fashion” present at the East and West of the Adriatic Sea. The domus is known in the literature as the “Athena house” because of the statue discovered by the archaeologists inside of it, but also as the “D house” because it was unearthed in “Sector D” of the excavation. The first goal of the research is to analyse the architectural and decorative aspects of the house to understand the tastes of this site. The second goal is to understand the needs of the customer’s social and economic selfrepresentation and the skills of the craftsmen who worked there.

Coastal-marine environments in Brazil are the most affected by the human occupation process, causing considerable environmental degradation, requiring actions to guide an integrated management in order to maintain the integrity of ecosystems. In Brazil, one of the strategies used for environmental conservation and coastal area management is the creation of Conservation Units. The law under which the Sistema Nacional de Unidades de Conservação (National System of Conservation Units) (SNUC) was created, sets forth guidelines for the management of nearby, juxtaposed or superimposed conservation units in an integrated and participatory manner. In this sense, the coastal-marine Santa Catarina CUs were subject to initiatives aimed at integrating the management of federal CUs in the state, which culminated in the creation of the Center for Integrated Management of Coastal-Marine Conservation Units in Santa Catarina. This study aims to assess to what extent these initiatives were actually translated into the practical actions currently established, as well as the reasons for achieving these results, or not. Although we observed work involving support among CUs, such work could not be characterized as part of an integrated management, as such management should start from the premise that planning and decisions are to be built together, viewing the territory as a whole. It is necessary to actually integrate those federal conservation units under analysis. This integration should not be limited to eliminating the structural deficiencies of the public agency, but ensuring compliance with legal requirements, institutional regulations and collective decisions, achieving greater coherence in territorial management, as well as greater efficiency in the conservation of ecosystems and maintenance and management of the services associated with them.

Archeological work in the 2012 and 2013 seasons in Jiyeh (Porphyreon), which lies onthe Phoenician coast north of ancient Sidon, was focused on reconstructing the history of settlementon the site. At least three phases were identified and dated to the Iron Age II, the Persian–Hellenistic–Roman period and late antiquity. The early dating of the functioning of the Christianbasilica to the 4th–5th century AD was also confirmed in trial pits. The complex and unusualsewage installation discharging rainwater from the roofs and streets of the 5th-century settlementcontributed important data for studies of late antique domestic architecture in the region.

In the course of archaeological investigations of the villa with peristyle in 2010 and 2011, a room of circular plan in the north-western segment of the villa and to the north of room w-24, was discovered. The room had annexes in the east and west and is analogous to the stibadium A discovered in the north-eastern section of the villa. Further investigations of the room called stibadium B revealed that the stibadium walls were decorated with a facing of marble slabs and the floor was covered with exceptionally well preserved high quality mosaic. Archaeological excavations in 2015 defined completely the system of floor and wall heating. The mosaic floors in stibadium B are conserved. The area to the west of the stibadium has also been explored and a channel with the remains of a lead water pipe was discovered there. The terrain to the north of the northern wall of the villa with peristyle was also levelled. [Projekat Ministarstva nauke Republike Srbije, br. 177007: Romanization, urbanization and transformation of urban centers of civilian and military character in the Roman provinces in the territory of Serbia]

The mosaic of Orpheus was discovered coincidentally in a field in the southern region of the city in the 1950s. It is a floor mosaic arranged in rectangular form situated on the ground of a Roman villa in the city. The base of the mosaic measures 8.10 x 5.30 m. Orpheus is the son of Oeagrus, the king of Thrace and Calliope the Muse. When Orpheus started playing his lyre, as the melody he uttered was combined with the extraordinarily harmonious music of the lyre, even the wildest animals were tamed, the birds flying in the sky halted to listen to him, and the trees and the rocks caught in the harmony of the music accompanied him by swaying and saluting. The mosaic of Prusias ad Hypium is arranged in a conventional style with Orpheus sitting on a rock as a central figure being surrounded by the animals of paradeisos. The personifications of four separate seasons are placed at the four corners of the round panel in the center of which Orpheus sat. A guilloche in a single row is used in the frame decoration of the panel where Orpheus, the animals and the four seasons are present. The border in the shape of a rectangle comprising intersecting circles consists of two rows at the upper short edge, three rows at the lower short edge and one row at each of the long edges. The border consisting of consecutive dark brown triangles is the outermost pattern encircling the mosaic. Rock, tree or plant motifs that are the indicators of natural environment are not used. The Orpheus mosaic of Prusias ad Hypium should belong to late 3rd-early 4th century A.D. owing to its stylistic and iconographic features.

The first time that a church’s ruins have been discovered with three naves under the base of an architectural ruin of a watchtower is happened in 2009 in Myndos’ Asar Island, when the archeological excavations had started at the top of the island.The ground of the church had been made by using the technique of opus tesselatum, and covered by an geometrical patterned mosaic. However that mosaic had been only protected one piece at the North nave and mostly in the middle nave. Most of the floor pavement of North nave had been ruined because of multiple reasons and had been found at the lower terrace with pieces by the reason of fall down. At the South nave none of mosaic ruins had been found. The mosaic floor dated late 5th - early 6th A.D. by the style and the ruins that have been found with it. In that article information’s will be given about that mosaic’s floor and consolidation.

This paper attempts to review the development of the Web until 1999, the date when it is published the standard HTML 4.0. In this paper it is also explained the development of HTML standard, which is currently the primary infrastructure where the World Wide Web is built. During this time we focus on some of the most noteworthy events of this period, we collect the set of institutions that today lead the Web and we outline some of the most significant innovations and the first conflicts of interest that rise up in the paradigm of public and private players and different organizations. Finally, as an appendix we deal with technologies and associations that deserve a separate section of this retrospective and the famous «browser wars» that have had a major impact on the way that today´s companies, standards and business models are commanded.

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)