Telestes. An International Journal of Archaeomusicology and Archaeology of Sound has been published: http://www.libraweb.net/sommari.php?chiave=147&fbclid=IwAR3j4HcUMu_P3bpfXb_WJkwKb7RTepq8FrsEkqY4JbGQi4neee60k3C49OQ Angela Bellia,... more
Telestes. An International Journal of Archaeomusicology and Archaeology of Sound has been published:
http://www.libraweb.net/sommari.php?chiave=147&fbclid=IwAR3j4HcUMu_P3bpfXb_WJkwKb7RTepq8FrsEkqY4JbGQi4neee60k3C49OQ
Angela Bellia, Ricordo di Rita Gianfelice
Angela Bellia, Editorial
Daniel Sánchez Muñoz, Arnaud Saura-Ziegelmeyer, Sylvain Perrot, Sounds of Copper and Bronze: Metonymies of Copper and Bronze as Sound Objects in the Ancient World
Eleonora Colangelo, Shining Lyres, Brilliant Sounds: Technical Materiality and the Vocabulary of Light Reflected in Attic Inscriptions
Kamila Wysłucha, ‘Tibia Orichalco Vincta’: Orichalcum (Brass) and Musical Instruments at the End of the 1st c. BCE
Heidi Köpp-Junk, Clappers in Ancient Egypt : Wood or Ivory for the Same Event or Ritual?; Lidia Izquierdo Torrontera, An Overview on Musical Iconography in the Iberian Culture (6th-1st c. BCE)
Dylan Lawrence Gibson, Translating Ancient Near-Eastern Musical Language: An Africanist Inspired Perspective
Book review: Valeria Bellomia, Ascoltare un osso umano. L’omichicahuaztli, dalla Mesoamerica Preispanica alla vetrina di un museo (Angela Bellia).
http://www.libraweb.net/sommari.php?chiave=147&fbclid=IwAR3j4HcUMu_P3bpfXb_WJkwKb7RTepq8FrsEkqY4JbGQi4neee60k3C49OQ
Angela Bellia, Ricordo di Rita Gianfelice
Angela Bellia, Editorial
Daniel Sánchez Muñoz, Arnaud Saura-Ziegelmeyer, Sylvain Perrot, Sounds of Copper and Bronze: Metonymies of Copper and Bronze as Sound Objects in the Ancient World
Eleonora Colangelo, Shining Lyres, Brilliant Sounds: Technical Materiality and the Vocabulary of Light Reflected in Attic Inscriptions
Kamila Wysłucha, ‘Tibia Orichalco Vincta’: Orichalcum (Brass) and Musical Instruments at the End of the 1st c. BCE
Heidi Köpp-Junk, Clappers in Ancient Egypt : Wood or Ivory for the Same Event or Ritual?; Lidia Izquierdo Torrontera, An Overview on Musical Iconography in the Iberian Culture (6th-1st c. BCE)
Dylan Lawrence Gibson, Translating Ancient Near-Eastern Musical Language: An Africanist Inspired Perspective
Book review: Valeria Bellomia, Ascoltare un osso umano. L’omichicahuaztli, dalla Mesoamerica Preispanica alla vetrina di un museo (Angela Bellia).
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Link to open access publication : https://journals.openedition.org/mondesanciens/3565
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Date / lieu : 18-19 mai 2018 / Paris, INHA (Salles Vasari et Benjamin) Le corps, issu du latin corpus, constitue la partie matérielle et tangible des êtres animés. Il peut aussi, par synecdoque, désigner la personne tout entière. Le... more
Date / lieu : 18-19 mai 2018 / Paris, INHA (Salles Vasari et Benjamin) Le corps, issu du latin corpus, constitue la partie matérielle et tangible des êtres animés. Il peut aussi, par synecdoque, désigner la personne tout entière. Le pouvoir, terme également issu du latin, renvoie à la capacité d’agir, mais surtout à celle de gouverner, contraindre, discipliner. Les Grecs et les Romains disposaient d’un vocabulaire étendu et nuancé renvoyant à cette notion : archè, dynamis, energeia, potestas..
Date. Du 29 Octobre 2020 au 31 Mai 2021 Lieu. Musée archéologique de Florence - Italie Fig. 1 (n°45 dans le catalogue de l’exposition), vitrine 1 : Napoleone Passerini, photo de Giacomo Brogi (Scandicci, Florence) appartenant à Alessandro... more
Date. Du 29 Octobre 2020 au 31 Mai 2021 Lieu. Musée archéologique de Florence - Italie Fig. 1 (n°45 dans le catalogue de l’exposition), vitrine 1 : Napoleone Passerini, photo de Giacomo Brogi (Scandicci, Florence) appartenant à Alessandro Tramagli. © Musée archéologique national de Florence (Direction régionale des musées de la Toscane) L’exposition « Tesori dalle terre d’Etruria. La collezione dei conti Passerini, Patrizi di Firenze e Cortona » est consacrée à la collection archéologique pr..
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Considering <em>synesthesia</em> as a key factor in the Greek experience of <em>miasma</em>, the performance appears to be subject to the <em>hagnizein</em> process. Therefore, even for the construction... more
Considering <em>synesthesia</em> as a key factor in the Greek experience of <em>miasma</em>, the performance appears to be subject to the <em>hagnizein</em> process. Therefore, even for the construction of a scenic and performative space there would exist a 'regulation of pure', based to <em>hagneia</em> canons. In turn, the same regulation is directed to validate the rhapsodic practice itself. This had to be the case of the <em>Homeric Hymn to Apollo </em>(<em>HHA</em>). The purpose of this paper is to enlighten exactly the micro-history of the <em>HHA</em> monumental unification, signed by cathartic prescription and mimetic representation. In fact, a direct connection binds the prescriptive sections in <em>HHA</em> (vv. 532-43) to some hexametrical cathartic<em> programmata</em> (including <em>LLS</em> 108, 115, 191). In particular, the analysis of some p...