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Gil Pasternak and Marta Ziętkiewicz

among equals. They desired to keep alive the story of the Jewish past and maintain the culture and folklore of their own people. But they wished to do so without detracting from the value of any other historical narrative, belief, or cultural tradition and without assuming any exemption from the duties

Eugeny Kotlyar

the practice of running a closed book through with a needle and then saying which words have been pierced on each page; see Paperno, “ Iz Nikolaevskoy epohi ,” 51. 59 As per the belief that in every generation some secret thirty-six (hence the gimatriya- based appellation of lamed-vovnik ) righteous

Shelly Zer-Zion

performance? Performance, argues Diana Taylor, is a cultural mode that exists not only within the framework of the theater but also in everyday life. It is constituted by scenarios exhibiting symbolic behavioral practices, thus capturing cultural traditions, ceremonies, and beliefs. These scenarios are taught

Terres cuites et culte domestique

Bestiaire de l’Égypte gréco-romaine

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Céline Boutantin

In Terracotta and domestic worship. Bestiary of the Graeco-Roman Egypt, Celine Boutantin proposes a new approach of terracotta produced in Egypt in the Greco-Roman period. A study taking into account the archaeological contexts allows to propose a synthesis of production workshops and to show, in some cases, an adaptation of the production of local cults. An inventory of figurines found in homes, temples and tombs allow to study the functions of these objects. Through the study of a particular theme, animal terracottas, the author raises questions about beliefs and personal or private practices.

Dans Terres cuites et culte domestique. Bestiaire de l’Égypte gréco-romaine, Céline Boutantin propose une nouvelle approche des figurines en terre cuite produites en Égypte à l’époque gréco-romaine. Une étude prenant en compte les contextes archéologiques permet de dresser un bilan des ateliers de production et de montrer, dans certains cas, une adaptation de la production à des cultes locaux. Elle permet aussi de dresser un inventaire des figurines trouvées dans les maisons, les sanctuaires et les tombes et de proposer une synthèse sur les fonctions de ces objets. A travers l’étude d’un thème particulier, les représentations animales, l’auteur aborde sous un angle nouveau la question des croyances et des pratiques personnelles ou privées.

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Edited by Ethan Matt Kavaler, Frits Scholten and Joanna Woodall

One of the principal arts in the Low Countries during the 16th century, sculpture was an important vehicle for supporting the social, religious and political interests of the church, the court, the cities and the nobility. The period saw the transition from an exuberant Gothic to a classicizing Renaissance style, a transformation in which sculpture assumed a leading role. In addition, statues were central to the cult of saints and commonly triggered iconophobia, which flared so spectacularly in the Beeldenstorm of 1566 and later riots. The essays in this volume cover a wide range of sculptural forms in the Low Countries, such as choir stalls, sacrament houses, carved altarpieces, funerary monuments, mantelpieces and small-scale cabinet sculptures. Issues of function, meaning, patronage and reception are central to these contributions, offering the most complete and accurate overview of the subject to date.

Urmila Mohan

1976: 109). Hence the belief that a South Asian’s moral qualities are “altered by the changes in his body resulting from eating certain foods, engaging in certain kinds of sexual intercourse, taking part in certain ceremonies, or falling under certain other kinds of influence” (Marriott and Inden 1977

Kimerer L. LaMothe

, anecdotes, travelogues, and texts from around the world that depicted the beliefs and rituals of colonized peoples, European and American Christian intellectuals were faced with a quandary: people everywhere were dancing. Intellectuals needed a way to make sense of these expressions, while also affirming

Diane Apostolos-Cappadona

vision of the Sacred and a model to follow on the path to salvation. Perhaps best identified in this modality as visible religion, the arts communicate beliefs, customs, and values through the signs and symbols of an identifiable iconography and the presentation of the gestures and postures of the human

Lieke Wijnia

Ongelofelijk [ Unbelievable ]. 15 The title relates to both the notion of religious belief and the perceived nature of religion’s public presence in the ever so secular Netherlands. The subtitle of the book, ‘about the surprising comeback of religion,’ indicates how this publication uses the frame of the

Andrew T. Coates

Reformation “displays what things look like to an eye required to understand.” 12 In other words, Koerner demonstrated that the Reformation changed more than beliefs, doctrines, and dogmas. It changed the kinds of work images were supposed to perform in Christianity. It changed the way Christians looked at