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The article reviews the exhibition "Der Untergang des Römischen Reiches" at the Rheinisches Landesmuseum in Trier, Germany, from June 25 to November 27, 2022, which narrates the fall of the Western Roman Empire from the Tetrarchic period to 476 CE.

The purpose of this paper is to focus on how the consequences of war, and the misery brought by it to European society, were depicted by Rubens, the Flemish Baroque painter, in his masterpiece The Consequences of War. The paper is based on an analytical method, with interpretative results and conclusions. This painting was created twenty years into the Thirty Years War (1618-1648), a devastating conflict that involved almost every major power in Europe and left some regions of Germany almost depopulated, but it also serves as a true visual illustrations on the situation of Europe today. Wars and conflicts have accompanied humankind since the beginning of time, and despite the different eras, continents, or nations, the consequences in people and society have been equally devastating. The terrors of war affected every sector of life, politics, society, as well as the arts. This paper will do e thorough analysis of the work, interpreting its symbolism, explaining the figures of Mars, the god of war, with his armor, helmet, red cloak, raised shield and bloody sword. With his left foot forward on a book and a drawing the image symbolizes that war destroys literature and the arts. To his left, Venus, the goddess of love, is seen trying to hold him back and pulling his arm. She tries to seduce him and make him withdraw from the fight. Venus is naked and has a red robe between her legs. That garment unites her and Mars, as a symbol that unites love and war, both driven by human passion. The whole picture reveals the destruction of life, soul, love, harmony, nations, arts, buildings, literature and music. A full blast of horror. It is a lesson for today conflicts and crisis. In the image there are several arrows, a scepter and an olive branch, symbols of peace, which have fallen to the ground under the flood of war. To the left of the painting is a despondent woman dressed in black, her arms flailing in the air. This woman represents Europe, the war-torn and bloody continent. Her eyes are teary, and she prays to heaven to stop the human folly. Rubens appeals through symbols that war has ravaged the European continent since Roman times. This work is an illustration on how war has a terrible impact on the lives of ordinary people, causing famine, disease and economic destruction in all regions. The allegory painted by Rubens serves as a memorial to the total war that Europeans experienced in the 20th century and even today. [ABSTRACT FROM AUTHOR]

In 1889, on his return from a study journey to Burma, the Italian naturalist and explorer Leonardo Fea presented the Royal Museum of Prehistory and Ethnography in Rome, directed by Professor Luigi Pigorini, with numerous objects of ethnographic interest, including some bronze drums: traditional instruments, which he had had the opportunity of observing in actual use, becoming aware of the social prestige with them associated, during a stay in the remote Karen region. A recent analysis about these items, kept at the Museum of Civilizations of Rome, has made it possible to expand the investigations previously carried out in the light of new data acquired in recent decades by international researchers. The research path adopted follows a multidisciplinary approach, making use of sources relating to human geography, ethnography, cultural anthropology and archaeology. With the aim of illustrating the powerful cultural and symbolic values embodied by these characteristic musical instruments; objects that relate to a wide geographical and human territory conjectured in South-East Asia, the "Zomia". A fluid space which, according to the American anthropologist James C. Scott, transcends the official borders of states and in the course of history has stubbornly eluded their administrative claims and impositions. [ABSTRACT FROM AUTHOR]

Copyright of Cappadocia Journal of History & Social Sciences is the property of CAHIJ 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 Archaeological Materials & Research / Materiale şi Cercetǎri Arheologice is the property of Institute of Archaeology "Vasile Parvan" 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.)

Man, being the foundation of civilizations and cultures, has always sought ways to express his feelings and thoughts. And the most direct way of explaining and conveying feelings and emotions are symbols. Man, in each era, with his presence in the world, has used various symbols to paraphrase his ego and has attached different religious, mystical, sensory and ideological meanings to them. The six-pointed star surely is considered one of the most universal symbols that has maintained its presence throughout different civilizations and has even reached us today. The six-pointed star has been used throughout almost all historic eras and has managed to keep its universality despite the local contexts given to it. The six-pointed star, embezzled by Muslims as a seal or ring of Solomon (PBUH), dating from the Seljuk Empire up to Osman art, has been used for decorating Muslim objects. The six-pointed star in Islamic art can be found carved on marble, metals, wood, paper and so forth. The six-pointed star is especially found in cubes, ceilings, gates as well on various religious objects like mosques, tekkas, madrasahs and the like. In the history of Islamic art, even in Albanian territories, there have been many instances of the usage of the six-pointed star. In this paper, we shall only use some examples that will serve as illustrations. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Il Medio Evo barbarico d'Italia (Italy's Barbarian Middle Ages) by Gabriele Pepe, published in 1941 by Giulio Einaudi Editore, is undoubtedly the longest selling Italian book about the Middle Ages. The goal of this article is to examine the reasons for this success, how the period in which the book was written influenced the depiction of the early medieval period in Italy, and how the volume was interpreted and used from the 1940s to the early 2000s in Italy and abroad. Challenging the conclusions of many scholars who have maintained that this work represents a "Fascist product," this essay also argues that several parts of this book can be interpreted as a criticism of the rise of the Nazis and of the alliance between Fascist Italy and Nazi Germany. [ABSTRACT FROM AUTHOR]

This paper discusses the cleric Nikolaus Graurock († 1493), who came to Rome at a young age to embark upon a remarkable career. His connection to the Hospital and Fraternity of Santa Maria dellʼAnima was the first important support used by this man of legal and diplomatic talents, who thus became acquainted with the customs of the Curia and of Rome and was able to quickly build up a personal network. His membership of the familia of cardinal Latinus Orsini, who came from a family of the high nobility with influence in Rome and Italy, was also fundamental. In the 1450 s, Graurock was one of the key figures – especially in the „Lüneburg Prelate War" – in the exchange between the Curia and representatives from northern Germany. Thanks to his position, however, Nikolaus Graurock also promoted the careers of others, including relatives. During his long stay in Rome he came into closer contact with those humanists who played an increasingly important role at the papal court from the second half of the 15th century onwards and whose works he later disseminated in Germany. This example of a mid-level cleric thus offers fundamental insights into the career opportunities that Rome and the Curia offered in the 15th century. [ABSTRACT FROM AUTHOR]

The presence, uptake and economic impact of innovations in the Roman world have been much debated. Not subject to debate, however, is the agency behind innovation, which is assumed to be the large, elite landowner. Evidence of experimentation at the rural terra sigillata production site of Marzuolo (Tuscany, Italy) does not fit dominant models of external investment in the Roman world and challenges the directionality of innovation. Instead, this article makes the case that experimentation at Marzuolo was driven by intensification on the part of local smallholders, but was curbed by a lack of capital investment. A later, scaled-up terra sigillata production phase at the same site, linked to infrastructural investments, shows predatory investment behaviour by a landowner who appropriated a tried and tested facility. Recasting innovation as an open-ended process of trial and error that is centred on human capital development, labour and relations of production, changes the terms of study of the Roman economy and aligns it with broader conversations in economic history. [ABSTRACT FROM AUTHOR]

The article discusses that Rhodes had become an international emporium because of the establishment of its famous maritime laws. It mentions that biblical and classical Hellenistic and Roman civilizations laid down enduring principles of commercial maritime law. It also mentions the laws and customs governing maritime commerce in variably unified merchants and parties engaged in shipping, despite differences across time and regions.

The article focuses on child slavery in the Roman Empire. Topics covered include the entanglement between slavery and childhood in Roman society, the Roman conceptualisation of mastery, and the economic rationale of the Roman child slavery. Also presented are some examples of the wide diversity in the treatment and occupations of enslaved children.

Roman civilization is at the heart of G.K. Chesterton's historical imagination. Nowhere is this more evident than in his 1925 book The Everlasting Man, which challenged a materialist, evolutionary perspective on history and highlighted the distinctive place of the Christian Church in the development of civilization. By distinguishing between the 'healthy heathenism' of Rome and the 'perverse paganism' of Carthage, Chesterton shows how Rome became the setting for the Christmas story, which fulfills the natural religiosity of mankind and provides a center for the unified human story. Roman civilization as a chrysalis for Christianity is at the heart of Chesterton's historical imagination. [ABSTRACT FROM AUTHOR]

Copyright of Goya is the property of Fundacion Lazaro Galdiano 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 modern conception of individual rights took many centuries to emerge in its current state. The Europeans trace the origin of representative traditions of democratic political system and many aspects of their culture to ancient Greek and Roman civilizations, collectively referred as the 'Western Heritage'. The idea germinated during the intellectual, cultural, and religious reform movements, and this growth took speed during the eighteenth and nineteenth centuries. The movements of Renaissance, Reformation and Humanism played a key role in the emancipation of people. This paper recaptures the history of the origin and development of individual rights within European context. [ABSTRACT FROM AUTHOR]

The Roman period in Greece has had a relatively short history of inquiry compared to other epochs of the country's long history and, as a result, very little has been written about modern perceptions of this period. For various reasons, neither modern Greeks nor foreigners have been particularly concerned with the country's Roman past, a period which has often been relegated to a negative realm. As a result, misperceptions about the Roman period in Greece are rampant, with many fallacies being perpetuated by labels and displays in museums and archaeological sites throughout the country, as well as by pedagogical institutions and the media. [ABSTRACT FROM AUTHOR]

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.)

The article reviews the exhibition "Rome: City and empire," which features several objects borrowed from the British Museum, at the National Museum of Australia.

This paper scrutinises the phenomenon of collective squatting for housing in Rome (Italy), which has reached remarkable proportions and developed new characteristics since the start of the 2008 crisis. Based upon two pieces of ethnographic research within the housing movement organisations Coordinamento Cittadino di Lotta per la Casa (Urban Coordination of Housing Struggles) and Blocchi Precari Metropolitani (Precarious Metropolitan Block), the authors aim to enlarge empirical knowledge of the case under study and provide renewed analytical instruments for understanding housing mobilisations. These organisations appear to be more than grassroots approaches to housing deprivation; they also represent alternative forms of social reproduction in post-welfare neoliberal cities. Indeed, squats configure themselves as sites for broader political elaboration. For this reason, we propose to analyse housing squatting using the notion of ‘urban commons’. The introduction of this notion to analyse housing movements helps in the theoretical elaboration of a re-appraised ‘right to the city’, in line with current urban challenges. [ABSTRACT FROM AUTHOR]

This paper focuses on linguistic contacts between Turkish as the receiving language and other languages of the Mediterranean area (Albanian, Arabic, Armenian, French, Greek, Ibero-Romance varieties, Italian, Serbo-Croatian). In the first part, a general overview is given of the contact situation and historical background; in the second, the treatment of loanwords from the above-mentioned languages in Turkish lexicography is sketched and briefly discussed. [ABSTRACT FROM AUTHOR]

Copyright of History Studies (13094688) is the property of History 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.)

In his critique of the language and thought of the Scholastics, Lorenzo Valla contrasts classical Latin as a natural, common language to the so-called artificial, technical, and unnatural language of his opponents. He famously champions Quintilian's view that one should follow common linguistic usage. Scholars, however, have disagreed about the precise interpretation of these qualifications of Latin. This article argues that, depending on the historical, rhetorical, and argumentative contexts, Valla uses notions such as common and natural in different ways to suit different purposes. Such a contextualized reading has repercussions for an evaluation of the coherence of Valla's humanist program. [ABSTRACT FROM AUTHOR]

This article contains a publication of a dedication by strategoi to Augustus, his heir Gaius Iulius Caesar and to the People, which was found in Olbia in 2006 and dates from the period between the year 1 BC and the year AD 4. It is the earliest inscription from post-Getic Olbia to have been discovered. Analysis of it makes it possible to suggest that Olbia was rebuilt after the rout by Burebistas in the last years BC under Roman control. The state organization of Olbia, which took shape after the city had been restored, reproduced certain features of the Roman constitution. Despite suggestions often voiced to the effect that Scythians or Sarmatians were included among its citizens, they were only granted the status of Olbian citizens later on - in the years 50-80 AD. The city was restored by Greeks who, at least in part, had come from Asia Minor and Thrace. [ABSTRACT FROM AUTHOR]

In the Bellum Civile, Lucan in part draws his three major characters by illustrating their relationships with women. Cato and Pompey appear with their Roman wives, where Caesar appears only in an illicit relationship with the foreign Cleopatra and while rejecting the apparition of Roma at the Rubicon. This article will demonstrate that Caesar's repudiation of Roma is emblematic of his rejection of Rome, Roman womanhood, and Romanness, in contrast to Cato and Pompey, whose devotion to their wives echoes their devotion to the doomed res publica. The poet develops this scheme by identifying Roma and the republic with the virtuous Roman matron. [ABSTRACT FROM AUTHOR]

Copyright of Review of International Affairs (04866096) is the property of Institute of International Politics & Economics 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.)