Adolf Hitler (Adolfo Hitler)

Athens University Review of Archaeology, 2023

In this paper, I discuss the notion of "repatriation" of antiquities that have been illicitly excavated and exported, against the backdrop of Greece's attempts to achieve their return. Taking the British Museum Caryatid as my primary case study, I survey recent Greek theater plays and children's storybooks in order to examine how the stolen statue is invariably portrayed as the nation's missing "daughter" or "sister", suffering in solitary exile and eagerly awaiting "her" return. Based on this discussion, I proceed to claim that the repatriation narrative serves as a means to reconfirm Greece's whiteness, and the Greek nation's rightful place as part of the West. Employing the methodological tools of coloniality and crypto-coloniality, as well as the parallel modern example of Egypt, I argue that it is through such attempts at partial representation that political communities in the periphery of the West imagine themselves into being.

W. Ameling (ed.), Centre and Periphery, Working with the Inscriptions of Iudaea/Palaestina, [Antiquitas, Abhandlungen zur Alten Geschichte, Band 76], Bonn: Rudolf Habelt, pp. 91-101; Tafel 6-14., 2022

Horbat Basal (Khirbet Umm el-Basal), is located about 1.5 km northeast of the Roman city of Beth Guvrin–Eleutheropolis. The site contains three distinct areas separated by slopes that are mostly devoid of ancient remains. (a) The hilltop section (b) ‘Iraq Finish and the “triangular compound” (c) “Abraham’s Tomb”. The focus of the present article is “Abraham’s Tomb”, a rock-cut subterranean complex comprising four interconnected cavities, carved in the soft, chalky bedrock. Two crosses and one Greek inscription were painted on the northwestern wall of “bell-shaped” Cavity C at a height of ca. 4 m above the sediment covering the floor. The height of the dipinti suggests that these were produced during the hewing process, when these levels were easily accessed. Dipinto no. 1: A cross, set within a wreath painted in red. The wreath is about 0.5 m in diameter and has a knot at the bottom. Schematic green leaves protrude from the body of the wreath. The quadrants bear the Greek letters iota chi (the first letters of the words Jesus Christos in Greek) and alpha omega – the first and last letters of the Greek alphabet, Christian symbols of the beginning and the end, based on a verse from Revelation: “‘I am the Alpha and the Omega,’ says the Lord God, who is and who was and who is to come, the Almighty” (Rev. 1:8). Dipinto no. 2 is set within a tabula ansata (0.85 x 0.40 m), surmounted by a cross. A horizontal palm branch lies within the tabula ansata, in the right-hand corner. The inscription reads: ΘΗΚΗ ΤΟΥ ΑΒΡΑΑΜ Θήκη τοû Αβρααμ ΤΟΥ ΔΙΚΕΟΥ τοû Δίκεοu Tomb of Abraham the Righteous or Tomb of Abraham, son of Dikeos. Dipinto no. 3: The cross (arms: 0.9 x 0.55 m) is a schematic jeweled or ornamented cross (crux gemmata). As in dipinto no. 1, the quadrants bear the Greek letters iota chi and alpha omega. Cavity C is typologically a “bell-shaped underground quarry” – certainly not a tomb, underground chapel, or rock-cut church. The dipinti show that the underground quarry was allocated for religious use within the broad context of extra-ecclesial devotion. The somewhat monumental inscription and well-executed crosses are unusual. While painted decorations and/or inscriptions are found on walls of Byzantine-period tombs, they are nonexistent on walls of bell-shaped quarries. The article discusses the function of the underground system, its decorations and the rather formal inscription that indicates the object of veneration: Abraham and his possible identification as a saint, a monk, or a martyr.

Face to Face With Animals: Levinas and the Animal Question, ed. Peter Atterton and Tamra Wright. Albany: State University of New York Press, 2019, 185-202.

SK International Journal of Multidisciplinary Research Hub, 2017

The purpose of this article is to show how excessive stress and the costs associated with it can be identified and contained in workplace settings. Workplace stress of certain kinds and at certain levels presents risks to mental and physical health and to safety. We will identify the kinds and levels of workplace stress that are particularly "risky," as well as the harmful consequences of such stresses, including everything from the common cold to heart disease, cancer and injuries. Stress Management is a lesson that helps learners to understand that stress is a part of everyone's life. This lesson focuses on how learners are feeling and what they can do to control the stress they may have in their life as workers, parents, and citizens. I. INTRODUCTION Stress is a fact of everyday life. When people reach out for help, they are often dealing with circumstances, situations, and stressors in their lives that leave them feeling emotionally and physically overwhelmed. Many people feel that they have very little resources or skills to deal with the high levels of stress they are experiencing. The information in this article has been compiled to provide information and education about stress, the effects of stress, and the most popular stress management and relaxation techniques that are being used today. This information could be helpful for people who want to learn how to react to stress in a more constructive, proactive way. The basic premise of this manual is that the benefits of stress reduction and relaxation techniques can be best noticed after they have been practiced regularly over a period of time. II. STRESS: WHAT IS IT? Stress is an individual's response to a disturbing factor in the environment, and the consequence of such reaction. Stress obviously involves interaction of the person and the environment.-stress is an adaptive response to an external situation that results in physical, psychological and/or behavioural deviations for organizational participants‖. The physical or psychological demands from the environment that cause stress are called stressors‖. Many people consider stress to be something that happens to them, an event such as an injury or a job loss. Others think that stress is what happens to our body, mind, and behavior in response to an event (E.g. heart pounding, anxiety, or nail biting). While stress does involve events and our response to then, these are not the most important factors. Our thoughts about the situations in which we find ourselves are the critical factor. When something happens to us, we automatically evaluate the situation mentally. We decide if it is threatening to us, how we need to deal with the situation, and what skills we can use. If we decide that the demands of the situation outweigh the skills we have, then we label the situation as-stressful‖ and react with the classic-stress response.‖ If we decide that our coping skills outweigh the demands of the situation, then we don't see it as-stressful.‖ Stress can come from any situation or thought that makes you feel frustrated, angry, or anxious. Everyone sees situations differently and has different coping skills. For this reason, no two people will respond exactly the same way to a given situation. Additionally, not all situations that are labeled-stressful‖ are negative. we may feel that situations are-stressful‖ because we don't feel fully prepared to deal with them. Stress is a normal part of life. In small quantities, stress is good; it can motivate you and help you become more productive. However, too Gohil et al.,

TẠP CHÍ KHOA HỌC & CÔNG NGHỆ - ĐẠI HỌC KHOA HỌC HUẾ, 2024

Dưới thời vua nhà Nguyễn, nghệ thuật trang trí cung đình được xem như một xu hướng có sự lan tỏa mạnh mẽ và được duy trì đến nửa đầu thế kỷ XX. Nghệ thuật trang trí trên kiến trúc đình làng ở các khu vực lân cận sẽ là nơi thể hiện rõ nhất điều này. Những ngôi đình ở Hội An – Quảng Nam vừa mang tính dân gian vừa mang yếu tố của cung đình thông qua tài năng và tay nghề của các nghệ nhân. Sự kế thừa trong nghệ thuật trang trí của mỹ thuật thời Nguyễn đã có những cải biến, thay đổi để phù hợp hơn. Điều đó được biểu hiện qua các đồ án, họa tiết trang trí, bố cục trang trí, vật liệu… Đây chính là các yếu tố đã góp phần khẳng định dấu ấn của mỹ thuật thời Nguyễn đối với nghệ thuật trang trí trên kiến trúc đình làng ở Hội An. Một nền văn hóa luôn có sự vận động và có chiều sâu thẩm mỹ thì luôn chứa đựng trong mình những phong cách, đặc điểm văn hóa vùng rất rõ nét. Điều này được chứng minh thông qua những giá trị nghệ thuật tinh tế được pha trộn trên dải đất di sản miền Trung - Huế - Hội An. Từ khóa: Mỹ thuật thời Nguyễn, trang trí kiến trúc, đình làng.