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indistinguishable. Thetis (not to be confused with Tethys, the greatest of the sea goddesses), a nereid, mother of Achilles, can she be intended as a personification of Water? This is certainly not common. It is exceptional in Goltzius' work, where personifications of Water are generally represented as conventional

In: Oud Holland – Journal for Art of the Low Countries

Aeneid and classical epic in general are often seen as “appropriating or erasing individual mothers’ voices and reproductive bodies in the service of a masculine imperialist or artistic impulse.” 25 Dryden, however, goes beyond Virgil in emphasizing the threats women and female forces pose to

In: Explorations in Renaissance Culture

Pieter Quast. ' ' QiiasFaesigi1èd the illustrations to Acts I, II and IV.42 The drama in Act I takes placc in the gypsics' encampment outside a city. The central characters arc Prc- tioze and Majombe, the old gypsy woman who pretends to be the girl's grand- mother. In the dialogue they relate their life

In: Oud Holland – Journal for Art of the Low Countries

should not have escaped the scholars. So poetry relates to prose like a mother to her daughter, but to philosophy she has for a long time been related as it relates to each part of itself. The fact, however, that she would have descended to the level of courtesan today, that she would be

In: Daniel Heinsius, Auriacus, sive Libertas saucia (Orange, or Liberty Wounded), 1602

keeps of ill. 7 Βελγίδος ἄλκαρ Cf. (for example) Hom. Il . XI , 822 ἄλκαρ Ἀχαιῶν. 9 Χάρισιν For the Graces as goddesses of grace, connected to the Muses, see Hes. Theog . 64 and Quint. I , 10, 21. See also Roscher 1, 873–884 and RE 3, 2163–2164. 10 Μνημοσύνης For Mnemosyne as the Muses’ mother

In: Daniel Heinsius, Auriacus, sive Libertas saucia (Orange, or Liberty Wounded), 1602

staging very artificial moments of incarnation”, including special-effect miracles and the incarnation of Gods or Goddesses in the physical form of good-looking actors (Nayar 2013: 21). These formulaic, repetitive, and attention-grabbing forms are not inferior representations of the sacred, but necessary

In: Religion and Film

science of painting as extending “to all the colors of surfaces, and to the figures of bodies clothed by those surfaces,” he calls “visual lines” ( linee vissuali ) “the mother of perspective,” and continues: “Now the first [part], which only extends to the lineamenti and boundaries of bodies, is called

In: The Fabrication of Leonardo da Vinci’s Trattato della pittura (2 vols.)

Yaga as genetrix, both proceeding from worship of very early Slavic goddesses. See Suzanne Massie, Land of the Firebird: The Beauty of Old Russia (New York, NY: Touchstone, Simon and Schuster, 1980), 189-90; Joanna Hubbs, Mother Russia (Bloomington, IN: Indiana University Press, 1988), 237. 5 Ertl

In: Experiment

peers and the Company elite” (ibid: 264). However, the landholding families of Bengal maintained their strong belief in the importance of proper ritual worship and goddesses such as Jagaddhatri since it was connected to their faith as well as being an indigenous response to global historical forces that

In: Brill Research Perspectives in Religion and the Arts

the figure being identified with nature and its nourishment. The Ephesian Artemis was also identified as the Roman Diana and linked to the Egyptian Isis. Drawing on ancient texts, scholars from the 16th century onward played with the identities of these goddesses, uniting them in emblem books to

In: Nuncius