Lion

The article is devoted to Mozart’s Singspiel “Zaide” (1778/79), an incomplete “German light opera” which was discovered after the composer’s death. This work remained in the shadow of another composition with a similar Turkish plot, namely “Die Entführung aus dem Serail”. It is not surprising that its evaluation has little changed since Otto Jahn and Hermann Abert’s time when Mozart’s Singspiel was regarded as not quite successful, and they thought of its libretto as its weak side, which had been made by Andreas Schachtner, a Salzburg musician and poet. The first part of the article sheds light on the libretto and discusses some reasons of why it sought a negative opinion, moreover it reveals what subjective and objective reasons led to the work remaining incomplete and not being staged during Mozart’s lifetime and why during the Romanticism Schachtner’s text was perceived as “not poetic and inept”, though the composer and his contemporaries praised the verses quite high. In the second part of the article the texts of two Italian arias (No 9 and 13) are considered in a context of physiognomic views of the-then time, which were deeply rooted in the antiquity, namely in Aristotle’s physiognomics doctrine. They are obviously characterised by reminiscences of an Italian opera opposition of common animal images of a lion and tigress as the brightest representation of fauna masculine and feminine types, respectively, rooted the in ancient zoophysiognomics. In Schachtner-Mozart’s Singspiel this opposition is not treated with the classicism unambiguity as in libretti by P. Metastasio which was imitated by the poet, but it rather stands out as a masterly played contamination of these animal metaphors, a peculiar game of masks, which is more inherent in baroque poetics. Such a treatment seems to be reasonable in connection with the gender problematic, that was peculiar to creative works by Mozart as a whole, mostly, certainly to his scenic works, which is shown by the analysis of male and female musical language in “Le nozze di Figaro” performed by the Austrian musician J. Wallnig.

В статье идет речь о зингшпиле В. А. Моцарта «Заида» (1778/79), неоконченной музыкальной пьесе, которая была обнаружена уже после смерти композитора. Это произведение оказалось в тени другого сочинения на похожий турецкий сюжет, «Похищение из сераля». Неудивительно, что его
оценка претерпела мало изменений со времен О. Яна и Г. Аберта, которые считали зингшпиль Моцарта не вполне удачным, причем его слабую сторону они видели в либретто, якобы неумело составленном зальцбургским музыкантом и поэтом Андреасом Шахтнером. В первой части статьи исследуются вопросы, как складывалось отрицательное мнение о либретто зингшпиля, какие субъективные и объективные причины повлияли на то, что произведение не было завершено и поставлено на сцене при жизни композитора и почему в романтическую эпоху текст Шахтнера воспринимался как «не поэтический и неумелый», хотя и сам композитор, и его современники считали стихи хорошими. Во второй части статьи в контексте физиогномических воззрений эпохи, истоки которых следует искать в античности, в учении Аристотеля о физиогномике, анализируются тексты двух итальянских арий-сравнений (№ 9 и 13). В них явно присутствуют реминисценции итальянской оперной традиции противопоставления образов-метафор льва и тигрицы как наиболее ярких представителей соответственно мужественного и женственного типов в животном мире, что восходит к античной зоофизиогномике. В зингшпиле Шахтнера-Моцарта это противопоставление явлено не с классицистической однозначностью, свойственной либретто П. Метастазио, на которые ориентировался поэт, но представляет собой тонко разыгранную контаминацию указанных звериных метафор, своеобразную игру масок, присущую, скорее, поэтике барокко. Такая трактовка представляется резонной в русле гендерной проблематики, свойственной творчеству Моцарта в целом, конечно, прежде всего его сценическим произведениям, о чем, в частности, говорит анализ мужского и женского музыкального языка в «Свадьбе Фигаро», предпринятый австрийским музыкантом Й. Валлнигом.

Love as a feeling of total gift of yourself to the other and of the other to yourself, with the tremendous responsibility that goes along with it. And death then becomes an unacceptable step away from this reality.
Death comes and love will never go away and will turn into suffering, longing, wanting, needing and never getting the satisfaction you could ever wish to get. Love is for life I was going to say, oh yes, love is for life and even beyond life, for death if it comes and when it comes.
Love never turns into ashes and never goes back to dirt because it is not dirt, it is the soul of the heart and the mind of life.
And that’s what C.S. Lewis actually discovers late in his life and never forgot after that. He finally learned how to be a fully blooming man, but it hurts so much when you learn love from within the death of your beloved.
I must say the slow rhythm of the film, the very intimate scenes, the delicacy of the language and the acting, and the art of Anthony Hopkins serve that theme so well, so beautifully.
It seems to be able to last for ever and ever, and yet the young son, now step-son, is there to remind you the show of life goes on for ever and ever on the stage of the strutting human beings we are.

In this article, the stories of Balaam's donkey (num. 22.22-35) and the man of God from Judah (1 Kgs 13) are analyzed independently and are also compared for similarities. Features that are common to both accounts include: the importance of the word of Yhwh, the employment of animals as literary characters, the motif of death, and the portrayal of animals as divine agents. This study argues that the literary function of animals as divine agents is a distinctive characteristic of the so-called preclassical phase of biblical prophecy.

Dans le prolongement de notre mise en évidence, en 2015, de quelques spécimens à la typologie particulière avec un masque de lion / M dans une couronne, dont la circulation aux alentours de la chora massaliète est désormais avérée, nous présentons, à partir de vingt-trois spécimens identifiés, les divers éléments à notre disposition permettant de mieux cerner ce petit ensemble attribuable à la Marseille grecque.

In this paper the development of lion protome bracelets in the Ancient Near Eastern between the 14th and the 6th century BC will be examined. For the reason a lion protome bracelet from tomb 36 at Marlık, a pair of lion protome bracelets from Nimrud Tomb II and Tomb III Coffin I, a lion protome bracelet made of bronze and gold by the Museum of Van, lion motif and a lion protome bracelet from Ziwiye, a lion protome bracelet from the Tumulus A at Gordion and a pair of blue glass bracelets with golden lion protomes were identified. The comparison of the seven bracelets, which are quite different from each other, will include the questions of their dating, their ownership, their findspot, their manufacturing techniques and the chracteristics in style. The study also specifically come to a conclusion by looking at their interaction with style properties. In the conclusion of this study the styles of the seven bracelets from, In this study, Marlık, Tomb II, Tomb III Coffin I, Museum of Van, Ziwiye, Gordion A Tumuli and Toptepe Tumuli lion prome bracelets will be compared in detail. The results will put forth the typology of the bracelets.

El capítulo se vincula a las posturas de la filosofía contemporánea (Derrida, 2008; Agamben, 2002) vinculada a la cuestión animal. Desde esta posición se analiza la obra literaria Los leones (2003) del autor mexicano Bernardo Fernández Bef, en su vinculación a otras obras narrativas de sus connacionales Juan José Arreola y Mario Bellatin. En estas obras la temática de lo animal juega un papel que destaca en el mundo posible de ficción, pues se buscará precisar las mecánicas con que se realiza una subversión de las estructuras jerárquicas y de poder antropocéntricas, y la relación relación del animal con el hombre.

L'histoire des ménageries médiévales a été jusqu'à aujourd'hui relativement peu étudiée ; trop peu d'études ont notamment été consacrées à la présence des animaux exotiques dans les ménageries. L'article présenté ici ne prétend pas aborder tous les thèmes possibles sur ce sujet ; nous avons choisi d'étudier la composition des ménageries (quelles espèces exotiques sont les plus fréquemment gardées en captivité ?), la quête de nouveauté et d'exotisme, et l'usage des bêtes exotiques dans la mise en scène du pouvoir et du faste des princes médiévaux.

The ivory wands of the Middle Kingdom display various creatures to be annihilated by protective deities, especially snakes and human foes. It seems that the snakes pictured on the ivory wands represent chaotic numina of primeval times which endanger the uncreated and the animate world. The human foes on the other side are foreigners like Libyans, Asians, Nubians and rebels. It is interesting to note that the figures of the human foes are modelled after an archetype which is taken from the royal monuments showing the king smiting his enemies. While the foes represented on the royal monuments are put down by the king in the shape of a divine bull, lion, sphinx or griffin, the enemies of the ivory wands are smitten by divine forces, among them the hippopotamus-goddess, the lion, and a cat-goddess. The investigation concerns the religious background of the massacre, which is done by the divine forces on snakes and human foes. It is proposed to identify the fighting animals as protective deities originating in art from stellar constellations or decans protecting the mother and her child at the beginning of lifetime.

Full-text PDF available here:
http://etudesettravaux.iksiopan.pl/images/etudtrav/EtudTrav_otwarte/EtudTrav_30/EtudTrav_30_Altenmuller.pdf

Öz: Antikçağda Karia Bölgesi’nde bulunan, günümüzde Muğla ili Datça Yarımadası’nda yer alan Knidos kentinin; Arkaik ve Klasik dönemlerde gelişmiş bir kültür düzeyine sahip olduğu bilinmektedir. Buna istinaden çok sayıda seramik, mimari ve plastik buluntular arasından Knidos için önemli kabul edilen ‘Aslan’ yontusu, bugün British Museum’da sergilenmektedir.
Aslan betimlerinin, ‘Knidos Aslanı’ öncül ve ardıl örnekleri ile stil kritiği yapıldığında; korkutucu/koruyucu güç, kuvvet, nüfuz sahipliği, liderlik ve cesaret anlamlarının sembolleştirilme amacı ile tasarlandıkları düşünül-müştür. Aslanın stil özellikleri ve bulunduğu mimari yapının dönemsel çerçevede incelenmesi sonucu Knidos Aslanı, Geç Klasik-Erken Hellenistik dönemin nitelikli yontularından biri olarak değerlendirilmiştir. Bu çalışma; Aslan betimi ve aslan türünün yaşam alanı, Knidos Aslanı, Knidos Aslanı’nın bulunduğu yapı, fizyonomik ve anatomik değerlendirme doğrultusunda aslanın olası yaş tahmini ve sonuç alt başlıklarını içermektedir. Bunu yaparken plastik esere yalnızca genel stil-kritik özellikleri, ait olduğu yapı, envanter bilgileri ve tarihleme kapsamında değil, fakat aynı zamanda heykelin simgebilimsel/ikonografik olarak tartışılması yapılmış ve betimde tercih edilen olası fizyonomik-anatomik detayları ve bunun semantik anlamda yontuda ifade ettiği özellikleri de değerlendirilerek plastik sanatın farklı perspektiflerden incelenmesi amaçlamıştır.
Anahtar sözcükler: Karia, Knidos, Knidos Aslanı, Aslan Betimlemeleri
Abstract: The ancient city of Knidos, which was located in the Caria Region in ancient times and is located on the Datça peninsula of Muğla province today; It is known that it had a developed cultural level in the Archaic and Classical periods. Due to this, there are many ceramic, architectural and plastic finds, The Lion of Knidos, which is considered to be important for Knidos, exhibited in the British Museum today.
When the critique of lions is made in the style critique; it was thought that they were designed with the aim of symbolizing the meaning of scary / protective power, force, influence of ownership, leadership and courage. The style of the lion and the architectural structure in which it was found were evaluated as one of the qualified sculptures of the Late Classical - Early Hellenistic period. This study; The depiction of the lion and the habitat of the lion species, the lion of Knidos, the structure in which the lion of Knidos is located, the possible age estimation of the lion in accordance with the physiognomy and anatomical evaluation, and the conclusion subheadings. While doing this, not only the general style-critical features, the structure to which it belongs, inventory information and dating are included in the plastic artifact, but also at the same time, the sculpture was discussed symbolically/iconographically, and it was aimed to examine plastic art from different perspectives by evaluating the possible physiognomical-anatomical details preferred in the illustration and the features it expresses in the sculpture in the semantic sense.
Keywords: Karia, Knidos, The Lion of Knidos, Lion depictions

Mythology, which emerged as the product of the behavior and imagination of the ancient people in the face of natural events, has a determining role in the formation of the art of depiction. When it comes to mythology, gods and goddesses come to mind first. However, the animals directly related to the gods are mostly secondary. However, in the art of depiction, instead of many gods, an animal or a mixed
creature symbolizing it is used. At the head of these mortars, lions are undoubtedly one of the most depicted creatures. These creatures, which were initially depicted in the form of lions, emerged in the following process, mainly by adding the heads of different species to the lion’s body or adding the lion’s head to the bodies of different species, creating fantastic, mixed or mythologically named creatures. These creatures, which are encountered in almost every field of Urartian art, although they are seen so often, in publications they were only mentioned as a mythological stage or decoration element and were evaluated in terms of form. However, creatures have a very important role that enables us to understand the feelings and thoughts of the Ancient Age people. Considering the researches done until
today, it is seen that the studies on creatures do not go beyond a catalog. Few researchers managed to concentrate on their meanings, but since the findings were evaluated unilaterally, very different
conclusions were reached, especially regarding the origins of creatures. The most important aim of this study is to accurately determine the origins of the creatures produced from lions and lions, to determine
the purpose for which they emerged, and to reveal the traceable development of the Urartian art since the date it was seen. In Urartu art, mixed creature depictions are seen on various works. While arches
are the most prominent of these objects, they can be seen in metal works such as votive plates, shields, helmets, pectorals, horse harnesses, furniture parts, cauldrons, jewelry and seals, as well as sculptures and wall paintings. While some researchers grouped these creatures according to the number of feet such as bipedal and quadruped, some researchers divided them into subgroups according to their head structures. In this study, creatures are grouped according to their main body, not according to attachments such as feet, tail and wings.

In this paper the development of lion protome bracelets in Western Anatolia between the 10th and the 6th century BC will be examined. As examples the golden lion protome bracelet from Tumulus A in the Phrygian capital Gordion and the lion protome bracelet made of blue glass and gold from the Lydian Tumulus at Toptepe were chosen. The comparison of the two bracelets, which are quite different from each other, will include the questions of their dating, their contexts, their ownership, their manufacturing techniques and their centers of production. Especially from the discussion about the production centers arises the question whether these two bracelets were local or imported.

Poster presented at the international conference "There and Back Again: Greek Art in Motion. Conference in Honour of Sir John Boardman on the Occasion of his 90th Birthday", Lisbon, 3-5 May, 2017
The Tomb of the Roaring Lions at Veii feature the earliest monumental paintings in Etruria depicting lions and birds. The paintings are dated to the years after 700 BCE and were based on Late Geometric Greek models.

Si l’iconographie de Daniel dans la fosse aux lions a suscité de nombreux travaux qui se sont intéressés aux représentations de ce thème dans l’Antiquité et le haut Moyen Âge, aucun d’entre eux n’a abordé le traitement de l’épisode vétérotestamentaire dans l’enluminure médiévale. Cette étude n’est pourtant pas sans intérêt puisque la tradition médiévale du manuscrit enluminé, et plus spécialement celle de la Bible enluminée – le motif de Daniel et des lions constitue le choix préféré des miniaturistes pour illustrer le Livre de Daniel –, a permis de conserver des siècles durant l’un des tout premiers motifs de l’art chrétien en le modifiant progressivement par l’ajout de détails réalistes. En particulier, les différentes interprétations de ce que pouvait être une ʻfosse aux lionsʼ ont donné naissance, tout au long du Moyen Âge, à des représentations plastiques qui vont du trou noir abstrait jusqu’à la ménagerie réaliste en passant par la tanière, le puits, ou encore le parc de chasse.

Pendant des siècles le lion fut un animal utilisé dans l’art avec des sens multiples. On l’a rattaché à la notion de royauté, de force, de protection. Ainsi déjà depuis l’époque minoenne, le voit-on encadrant les portes des villes. Le christianisme également fait intensément usage de son image, à laquelle on assigne des sens parfois contradictoires. Il est associé au Christ, le Lion de Juda, mais aussi au diable. C’est au Moyen Âge, et tout spécialement à l’époque romane, qu’il est le plus fréquemment représenté, particulièrement dans la sculpture monumentale qui décore aussi bien l’intérieur que l’extérieur des temples. L’on trouve également le lion comme symbole de la Résurrection, conséquence de la croyance médiévale selon laquelle les lionceaux morts-nés étaient ramenés à la vie par leur père après trois jours.

Le lion apparaît également dans de nombreux épisodes faisant allusion à la lutte entre le bien et le mal, comme dans les scènes de Samson ou du roi David brisant la mâchoire du lion, le combat des lions et des griffons, ou encore celui de chevaliers qui, secourus par des anges, sortent victorieux du combat, ainsi que nous le voyons à Yermo (Cantabria).

De même que dans l’Antiquité, les portes sont les lieux habituellement choisis pour y inclure l’image des lions, autant à cause du sens protecteur de l’animal qu’en raison de la fonction pénitentielle de ces lieux. C’est peut-être pour cette raison que, dans bien des occasions, les lions sont représentés comme des bêtes androphages.

La dualité symbolique du lion s’adapte parfaitement aux programmes à caractère eschatologique représentés dans la sculpture romane, et qui sont si intimement liés à l’atmosphère obsessionnelle de l’époque concernant le salut de l’âme. L’un des exemples les plus significatifs de cette fonction eschatologique du lion apparaît dans l’épisode de la condamnation du prophète Daniel dans la fosse aux lions. Ainsi qu’il est évoqué dans un certain nombre de psaumes et de passages de la Bible, le lion est un être malfaisant qui guette l’âme du chrétien, représenté par Daniel. Ce dernier, parfait exemple du juste, parvient à sortir indemne de deux condamnations grâce à sa foi en Dieu. Ce triomphe final de la foi est habituellement représenté dans l’attitude des félins : ceux-ci  manifestent leur soumission et leur douceur soit en léchant le prophète, soit en courbant le dos et en baissant la tête. Cette représentation contraste avec celle que l’on trouve dans un autre épisode de l’histoire de Daniel : le châtiment final de ceux qui ont intrigué contre le prophète, et sont alors dévorés par les mêmes lions. L’attitude ambivalente des bêtes sauvages, féroces et sans pitié envers les conspirateurs pervers, et dociles devant le juste Daniel, manifeste l’intention évidente de présenter un message allégorique lié à la Pénitence et au Jugement Dernier, dont nous trouvons un parallèle particulièrement clair sur le tympan de la porte occidentale de la Cathédrale de Jaca.

This article focuses exclusively on the figure of the lion, animal form with a high symbolic value since ancient times. This work aims to have an impact on the strength and meaning of this animal within the world of Alfonso X el Sabio, and in particular within his General Estoria. As we will see, in this work the animal takes an outstanding role because it boosts the importance of this king.

Lions in ancient Mesopotamia
Lions were popular animals in the ancient Near East, including Mesopotamia. The rulers were hunting them, but they were also attributing symbolic meanings to them (for example lions were regarded as the symbols of kingship). The aim of this study is to present the roles of these big cats mainly through the Sumerian and Akkadian terms used for their denominations and also their pictorial representations. Besides the examination of some cuneiform sources (especially Neo-Assyrian royal inscriptions of Tiglath Pileser III, Sargon II, Sennacherib and Esarhaddon) these representations of lion hybrids are presented in this study.

This article suggests that the popular coin types found early on in Magna Graecia, of a bull (Sybaris), a horse (Corinth) and a lion (Elea, and Lydia) might have something to do with interpreting Xenophanes' fragment.  Also, an Aesop's story of a man traveling with a lion sheds some light on the matter.

A LION WHICH DOES NOT CRY? THE IMAGE OF THE LION IN HOMER.
Abstract: The article is devoted to the presentation of the image of the lion in the Homeric epics. The paper does not profess to create a study of the Homeric metaphor or comparisons related to lions,
but rather it is geared towards those interested in fauna in the ancient world. It aims to produce a complete picture of the lion in Homer: what it looks like, how people see it, what habits it has. The article will also aim to answer the question whether the lion of Homer’s times, which we meet in his epics, was indeed a part of everyday life for Greek people, or whether it was actually a creation adapted from the Near Eastern or Mycenean tradition.

The African lion has declined to,35,000 individuals occupying 25 % of its historic range. The situation is most critical for the geographically isolated populations in West Africa, where the species is considered regionally endangered. Elevating their conservation significance, recent molecular studies establish the genetic distinctiveness of West and Central African lions from other extant African populations. Interventions to save West African lions are urgently required. However formulating effective conservation strategies has been hampered by a lack of data on the species ’ current distribution, status, and potential management deficiencies of protected areas (PAs) harboring lions. Our study synthesized available expert opinion and field data to close this knowledge gap, and formulate recommendations for the conservation of West African lions. We undertook lion surveys in 13 large (.500 km2) PAs and compiled evidence of lion presence/absence for a further eight PAs. All PAs wer...

Analysis of over 14,000 animal bone and tooth fragments collected during previous and current excavations at the coastal site of Jaffa, Israel have yielded a wealth of zooarchaeological data. In addition to the common barnyard stock such as sheep, goats, and cattle which are regularly featured at contemporary sites, the field investigations have revealed isolated contexts that underscore the use of certain wild animals. This paper will present select data relating to the remains of non-domesticated species that include fallow deer (Dama dama), red deer (Cervus elaphus), striped hyena (Hyena hyena), and lion (Panthera leo). Of particular note is the contribution of the lion (and possibly the hyena) to local cultic orientations based on their find spots and associated cultural modifications. The cluster of thousands of deer antler fragments found on the floor of an associated gate system will also be considered.

An 8-year-old male lion with progressive lack of secondary sex characteristics, dysorexia and weight loss was referred to
our Institution. The patient was anaesthetized to undergo general clinical evaluation, hematologic, serum biochemical and
hormonal profile, FIV/FeLV tests. Total body computed tomography, abdominal ultrasonography and fine-needle aspirates
of the liver and left adrenal lesion were performed. Imaging findings showed the presence of a neoplastic lesion on the left
adrenal gland and generalized hepatopathy. Blood tests reported an estradiol concentration of 462 ng/dl. To our knowledge,
this is the first description of an adrenal mass in a lion associated with secondary feminization.

"The ancient Egyptian city of Tell el-Amarna (or Amarna, ancient Akhetaten) was the short-lived capital built by the controversial Pharaoh Akhenaten, probably the father of the famous Tutankhamun, and abandoned shortly after his death (c. 1336 BCE). It is one of the few Pharaonic cities to have been thoroughly excavated and is a rich source of information about the daily life of the ancient Egyptians.

This volume, the first of two, presents the leatherwork excavated at the site by these various expeditions. The book consists of two parts: the catalogue and the preliminary analysis. The former presents the detailed description of the objects (among which chariot leather and footwear), accompanied by colour photographs and, where necessary, line- and construction drawings. The latter includes an explanation of the Amarna Leatherwork Project as well as preliminary interpretations of the finds.

buy printed book, e-book or read for free @ http://www.sidestone.com/library/amarna-s-leatherwork

http://leidenuniv.academia.edu/Andr%C3%A9Veldmeijer"

“Toptepe Tümülüsü’nden Aslan Bitimli Cam-Altın Bilezik” adlı seminer çalışmam “Aslan Protomlu Bilezikler” adlı tez çalışmamın ana kaynağını oluşturmaktadır. Tezimde aslan protomuna sahip bileziklerin Toptepe Tümülüsü’ne ait aslan bitimli cam-altın bileziğin oluşumuna dek nasıl bir gelişim sürecinden geçtiğini inceleyeceğim. Özellikle bilezikler üzerinde kullanılan aslan başlarının dönemler arası nasıl değişiklikler gösterdiğini ve nasıl kullanıldığını ele alacağım. Bu doğrultuda yapmış olduğum seminer çalışmam tez çalışmamın bir ön hazırlığı olarak yapılmıştır.
This seminar work; it is the basis of my thesis "Lion Protom Bracelet" entitled. I will research in my thesis how it has progress from glass-gold bracelet of lion finite to lion protom bracelet. Especially, I will study how lion heads indicate changes interperiod and how it is used. This seminar work was prepared as a preliminary work of my thesis.

Among the key animals kept in menageries were panthers, cheetahs and lions. Sometimes these felines would escape and kill people in the cities or even their own keepers. Linked to the former, keeping savage felines at court was a way to demonstrate how the ruler or the prince presented himself as the Tamer of the Beasts, ruling over such fearsome exotic animals. The paper will concern the interplay between the observed behavior of these big cats and their controlled proximity to power.