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Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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 Thiasos is the property of Edizioni Quasar di Severino Tognon s.r.l. 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 Thiasos is the property of Edizioni Quasar di Severino Tognon s.r.l. 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.)

В статье впервые в отечественной научной литературе ставится вопрос о значении впечатлений, полученных В.И. Суриковым во время путешествия по Италии в 1884 году, для его искусства, в первую очередь — для развития замысла картины «Боярыня Морозова». Актуальность постановки исследовательской задачи объясняется слабой изученностью творческой деятельности Сурикова времени заграничной поездки, хотя тогда им был выполнен ряд важных произведений, преимущественно в технике акварели. Между тем данные работы представляют значительный интерес уже с точки зрения их высокого художественного совершенства, поэтому они составляют основной объект исследования в данной статье. В то же время ее главная задача состоит в том, чтобы показать, что в итальянских произведениях Сурикова были впервые опробованы изобразительные приемы, впоследствии использованные при работе над «Боярыней Морозовой». Одновременно на основе текстового анализа сохранившихся письменных источников, в первую очередь писем художника, показано, что распространенное мнение о решающем значении впечатлений от картин старых мастеров для формирования ее колористического ансамбля представляется малообоснованным. Стилистический анализ изобразительного строя итальянских акварелей Сурикова дает основание говорить о том, что с их помощью мастеру удалось окончательно уяснить для себя основополагающую проблему художественной концепции исторической картины, какой она в итоге сложилась в его творчестве к середине 80-х годов. Суть проблемы заключалась в необходимости примирения методики подбора историко-археологического антуража в виде костюмно-бытовых подробностей с принципами его живописного отображения, осуществлявшегося с помощью приемов пленэрного письма. На изобразительном материале помпейских акварелей Сурикову удалось впервые в его творческой практике сообщить приметам далекого прошлого вид редкого визуального правдоподобия, достигнутого за счет умелой передачи солнечного света. Свое развитие эта практика получила в серии его архитектурных листов с изображениями сооружений древности и Возрождения, а также в единственной станковой картине, написанной в Италии, — «Сцена из римского карнавала». Во время работы над ней окончательное оформились творческие принципы показа изображаемого события, позднее определившие художественную стратегию Сурикова при написании «Боярыни Морозовой».

The archaeological areas of Pompeii, Herculaneum, Torre Annunziata were included in the list of World Heritage sites in 1997. The archaeological park of Pompeii, in addition to the area contained within the walls and the perimeter area of the necropolis, is also responsible for the protection and enhancement of the 'minor sites' of Boscoreale, Civita Giuliana, Oplontis, Stabiae, Longola, Castello di Lettere, Bourbon factory and Quisisana Palace. These areas fall within the Buffer zone envisaged by the Unesco Plan which aims to enhance the 'satellite sites', also with a view to relieving the anthropic pressure on the ancient city of Pompeii, to differentiate the cultural offer and strengthen the infrastructural network of connection with the scope to become new attraction poles for cultural tourism. Within the strategic lines envisaged by the plan for the relaunch of the Buffer zone the contribution aims to illustrate possible development guidelines to create new urban connections between the ancient city of Pompeii and the neighboring sites, with a view to preserving the archaeological, urban and landscape values of the area and triggering strategies to enhance the Vesuvian archaeological 'system' with positive repercussions also on the economy and on the 'Heritage Community'.

The archaeological areas of Pompeii, Herculaneum, Torre Annunziata were included in the list of World Heritage sites in 1997. The archaeological park of Pompeii, in addition to the area contained within the walls and the perimeter area of the necropolis, is also responsible for the protection and enhancement of the 'minor sites' of Boscoreale, Civita Giuliana, Oplontis, Stabiae, Longola, Castello di Lettere, Bourbon factory and Quisisana Palace. These areas fall within the Buffer zone envisaged by the Unesco Plan which aims to enhance the 'satellite sites', also with a view to relieving the anthropic pressure on the ancient city of Pompeii, to differentiate the cultural offer and strengthen the infrastructural network of connection with the scope to become new attraction poles for cultural tourism. Within the strategic lines envisaged by the plan for the relaunch of the Buffer zone the contribution aims to illustrate possible development guidelines to create new urban connections between the ancient city of Pompeii and the neighboring sites, with a view to preserving the archaeological, urban and landscape values of the area and triggering strategies to enhance the Vesuvian archaeological 'system' with positive repercussions also on the economy and on the 'Heritage Community'. [ABSTRACT FROM AUTHOR]

The relationship between Pompeii and the Voyage Picturesque appears as something important and unique in many respects. As a matter of fact, the large space dedicated to Pompeii in the second volume of the book in terms of text and pictures, represents a very important stage in the dissemination of Pompeian archeology, and in the description of a site that had not yet acquired the same reputation as Herculaneum, filling a gap which had been noted by scholars. The book by Saint-Non, far in advance of the success of the site of Pompeii, suggests and certifies its relevance not only in documenting the excavations in their contemporary consistency, but ideally reconstructing the site in antiquity, greatly contributing to the construction of a powerful imagery.

Sin dalla sua scoperta a Pompei nel 1938, la statuetta in avorio di manifattura indiana non ha smesso di porre interrogativi sul suo soggetto, sulla sua provenienza, sulla sua funzione prima di arrivare nel municipium campano. In questo contributo, dopo una disamina dello status quaestionis sulla statuetta (datazione, possibile iconografia, provenienza, contesto di rinvenimento) ci si chiederà chi potesse essere il suo proprietario e che cosa avrebbe potuto rappresentare per lui un manufatto tanto particolare. Una risposta potrebbe giungere dalle Metamorfosi di Ovidio, in particolare da una sezione del decimo libro dedicata a miti connessi con l’avorio e la prostituzione femminile, e dall’usanza romana di esporre, durante i banchetti, oggetti curiosi per stimolare la conversazione. Since its discovery, which took place in Pompeii in 1938, the ivory statuette of Indian manufacture has not stopped asking questions about its subject, its origin, its function before its arrival in the Roman municipium. In this paper, after an examination of the status quaestionis on the statuette (dating, possible iconography, provenance, context of discovery) I will try to understand who could be its owner and therefore what a Pompeian of the first century could have seen in such a particular artifact. An answer may come from Ovid's Metamorphoses, in particular from a section of the tenth book dedicated to myths associated with ivory and female prostitution, and from the Roman custom to exhibit curious objects to stimulate conversation during banquets.

This paper focuses on the composition and interaction of Pompeian elite and sub-elite networks and the way in which these relationships shaped and transformed local politics. SNA can contribute to the ongoing debate on the composition and alleged stability or turnover within the Pompeian aristocracy. This dispute has a long tradition and the picture of the Pompeian society emerging oscillates between a democratic community with high levels of social and political mobility and a more traditional Roman city with wellestablished families dominating the political scene and newcomers rising and disappearing in the margin. I shall analyze and compare the different networks members of elites and sub-elites were circulating in and how they attempted to use, share, extend and manipulate networks to achieve their goals. The key to power thus lies in moving oneself in the most interesting position in the network, either through mobilizing inherited connections, power and wealth or carving out a new location by means of personal assets. The following sections will show how Pompeian elites, established families and newcomers alike, tried to find the most valuable position in the local network and consequently captured the inherent benefits of connectivity.

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.)

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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 Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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 Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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 Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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 Electronic Turkish Studies is the property of Electronic Turkish Studies 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 Archeologia dell'Architettura is the property of Edizioni all'Insegna del Giglio 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 Context / Kontekst is the property of Institute of Macedonian Literature 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.)

Mirrors have been studied by cognitive psychology in order to understand self-recognition, self-identity, and self-consciousness. Moreover, the relevance of mirrors in spirituality, magic and arts may also suggest that mirrors can be symbols of unconscious contents. Carl G. Jung investigated mirrors in relation to the unconscious, particularly in Psychology and Alchemy. However, the relationship between the conscious behavior in front of a mirror and the unconscious meaning of mirrors has not been clarified. Recently, empirical research found that gazing at one’s own face in the mirror for a few minutes, at a low illumination level, produces the perception of bodily dysmorphic illusions of strange-faces. Healthy observers usually describe huge distortions of their own faces, monstrous beings, prototypical faces, faces of relatives and deceased, and faces of animals. In the psychiatric population, some schizophrenics show a dramatic increase of strange-face illusions. They can also describe the perception of multiple-others that fill the mirror surface surrounding their strange-face. Schizophrenics are usually convinced that strange-face illusions are truly real and identify themselves with strange-face illusions, diversely from healthy individuals who never identify with them. On the contrary, most patients with major depression do not perceive strange-face illusions, or they perceive very faint changes of their immobile faces in the mirror, like death statues. Strange-face illusions may be the psychodynamic projection of the subject’s unconscious archetypal contents into the mirror image. Therefore, strange-face illusions might provide both an ecological setting and an experimental technique for “imaging of the unconscious”. Future researches have been proposed.

Le città di Pompei, Ercolano e Ostia costituiscono una notevole fonte di dati per quanto riguarda la vita quotidiana e commerciale di alcune botteghe, che avevano non solo la possibilità di vendere cibi e bevande calde e di mettere a disposizione dei clienti una serie di spazi in cui pranzare, ma anche di alloggiare con carri e animali: questo lavoro risulta essere un tentativo per mettere in relazione le testimonianze archeologiche rinvenute con le definizioni fornite dalle fonti e, allo stesso tempo, per creare una classificazione tipologica di tali locali sulla base degli arredi interni, delle dimensioni e della collocazione nel contesto urbano.

A reflection on Fellini’s creativity and his archaeological knowledge of the Vesuvian sites (Pompeii, and, especially, Herculaneum); the text was inspired by the reading of the book Fellini-Satyricon. L’immaginario dell’antico (a cura di F. Slavazzi, E. Gagetti, R. De Berti), which was presented in Milan on May 10, 2010.