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Cynthia Hahn

Byzantine emperor Justinian at its cen- ter, a further glorification by association of the Trier relics (and a claim to great age and authenticity). Of course the Andrew altar, with its image of a disembodied foot. presents a spectacle even more astounding and strange than the staff reliquary. We must agree

Gregory Price Grieve

University Press. MacAloon, John 1984 “Introduction: Cultural Performances, Cultural Theory.” In John MacAloon (ed.), Rite, Drama, Festival, Spectacle: Rehearals Toward a Theory of Cultural Performance , Philadelphia: Institute for the Study of Human Issues, 1–19. Metcalf, Peter 1979 Celebrations of Death

Arie Molendijk

religious development. In all the changes and vicissitudes, Tiele discerned “not a puzzling, but a grand and in- structive spectacle — the labour of the human spirit to find fitter and fuller expression for the religious idea as it becomes ever clearer, and for religious needs as they become ever loftier

Miguel Herrero de Jáuregui

, one of the few certain things about the Eleusinian mysteries, probably echoed in many other ones, is that the final vision of a marvelous spectacle, perhaps illuminated statues, in the innermost part of the adyton was the culmination of the whole ritual. The initiatory journey undertaken on the

Šterbenc Erker Darja

: Lexicography, Scholarship, and Society , Bulletin of the Institute of Classical Studies Supplement , 93 , London : Institute of Classical Studies, School of Advanced Study, University of London , 87 – 108 . Flower , Harriet I. 2004 . “Spectacle and Political Culture in the Roman Republic

Annemarie Schimmel

appearance of the Beloved even in the executioner. For God is visible both in the judge and in the prisoner: Master Mansur had his foot in chains, People had gathered for that spectacle. Ma'mun (sic!) had gone and given the order : Killed the crying! The crying one was He, hear, oh muftis! Quickly they

Peter Flügel

. jar ̣ pūjā hogī vahām ̣ bhāv pūjā aur bhāv-bhakti gaun ̣ ho jāyegī (ibid.). P. Flügel / Numen 57 (2010) 389–504 429 S. Sañcetī (1999:40f.), whose voice represents a strong current of opinion in the anti-iconic Jaina traditions, also objects to the custom- ary Jaina spectacle of displaying on ice