Hermes

La religión es un hecho y una necesidad que ha acompañado al ser humano a lo largo de su historia. Durante la Prehistoria, las fuerzas de la Naturaleza se convirtieron en objeto de adoración ante el temor a lo desconocido. Los egipcios, para los que los desplazamientos a través del desierto por los wadis y por el Nilo eran fundamentales para su economía, destinaron la protección de los viajeros y rutas a Min y Amon.  La mitología griega asigna la labor de mensajeros y protectores a Iris y Hermes. Este último se incorpora al panteón romano, por influencia etrusca, con el nombre de Mercurio, asimilando cultos y unificando creencias. Por otro lado, el mundo romano, dentro de sus dioses menores, asignó un puesto muy importante a Término y los Lares en lo que respecta a la protección de vías, hogares y encrucijadas.

As of late Ransomware infection programming spread like a violent wind winds. A twister wind makes damage properties; similarly ransomware makes PC information non secure. Each client is moving towards digitization. Client keep information sec ure in his or her PC. A ransomware is one of the program infection that commandeer client's information. A ransomware may secure the framework a way which isn't for a normal individual to reverse.It not just targets home computers but business additional ly gets influenced. It scrambles information so that ordinary individual can never again unscramble. An individual needs to pay payment to unscramble it. However, it doesn't produce that documents will be discharged. This paper gives a concise investiga tion of Ryuk ransomware, its impact on PC world and its preventive measures to control ransomware on PC framework.

Lorsque Coluche annonce son intention de se présenter à l'élection présidentielle de 1981, il franchit le Rubicon. Nul doute que dans ce cas, il soit allé trop loin aux yeux de la classe politique. Il a outrepassé les fonctions de bouffon telles qu'elles sont tolérées par les gouvernants. Le bouffon est alors sorti du champ de la dérision, où le risque pour le politique est faible, pour entrer dans l'espace de la compétition politique, qui remet directement en cause le pouvoir et la légitimité de ceux qui le détiennent. D'autant que Coluche s'est présenté aux élections « pour foutre la merde » comme il le disait, poussant ainsi à l'extrême la désacralisation. En s'alignant avec les autres hommes politiques, il s'est mis à leur niveau et induisait l'idée que les hommes politiques étaient des bouffons. C'est l'inversion totale. Plutôt que d'être l'image inversée du prince, le reflet dans le miroir, le fol devient en fait un acteur comme les autres, avec les mêmes caractéristiques que les politiciens. Dans son billet d'humeur périodique que lui réserva Libération au début de sa campagne, Coluche insistait souvent sur ce point. Citons trois exemples parmi d'autres : «Je ferais remarquer aimablement aux hommes politiques qui.me prennent pour un rigolo que ce n'est pas moi qui ai commencé » (17/11/1980). « Finalement, si je comprends bien, tout le monde a le droit de vous faire rire sauf moi» (24/11/1980). «J'arrêterai de faire de la politique lorsque Marchais arrêtera de faire rire » (04/11/1980). Dans cette opération (à but largement commercial à l'origine) Coluche réunira sur son nom, des mécontents de tous bords. Mais au lieu d'en rester au stade de la grosse farce, il va leur proposer une vraie mobilisation de façon à ce que le pouvoir prenne en compte leurs revendications. Il ne se contente donc plus de désacraliser, il déstabilise en entrant dans le principe d'action. Son appel solennel paru dans Charlie bebdo annonçant sa candidature, témoigne de son

This article examines, explains and puts into perspective what others have dubbed the 'Manipulation School'. This group of scholars see themselves as working within descriptive translation studies (DTS), as defined by Holmes (1975), and their main methodological tool is a search for translational norms, first proposed by Toury (1980a). The article then explores how these ideas relate to current research on interpreting-especially Gile's work-and it concludes that, with certain modifications, the theory of translational norms could be extended to interpreting.

Où commencent et où s'arrêtent les domaines respectifs du sociologue et du psychologue? Durkheim se montre-t-il impérialiste lorsqu'il écrit que «la psychologie est destinée à se renouveler en partie» sous l'influence de la recherche sociologique ou lorsqu'il affirme que «toute la sociologie est une psychologie», au risque de brouiller les frontières disciplinaires? En fait, l'évolution des perceptions concernant ce qui est sociologique et ce qui ne l'est pas soulève le délicat problème de la définition du «social». Cet article défend l'idée selon laquelle, pour gagner en autonomie scientifique et accroître son champ d'intelligibilité, la sociologie doit accepter la diversité des échelles d'observation et intégrer à la liste des variations de comportements sociologiquement étudiables les variations inter-individuelles et intra-individuelles des comportements laissées jusque-là à la psychologie.

Nul ne contestera que l'exposition soit un média fondé sur l'espace. Mais jusqu'à quel point l'espace peut-il avoir une place déterminante dans la production de la signification ? Parler d'« agencement », n'est-ce pas déjà supposer que la « disposition » de l'exposé dans l'espace renvoie à un principe organisateur susceptible d'être interprété, par le visiteur, comme doté d'une signification plus ou moins intentionnelle 1 ? Ce qui serait nouveau aujourd'hui serait l'impression que les expositions sont conçues, plus peut-être que par le passé, à partir d'un travail de l'espace. C'est donc ce dernier point que je voudrais examiner ici.

In Plato's Cratylus, Socrates seems to present the logos as, first and foremost, an always already present yoke binding us to our world. However, this prior and necessary bond does not entail that our world is revealed exhaustively or perfectly in the terms and structures of our human language. Rather, within this bond, the logos opens up a distance between being and appearance, insofar as it points to 'what is' as the withdrawn possibility condition for the appearances that are ordered, gathered, and separated according to names. Plato presents the essential ambivalence of logos not only in Socrates' elenctic arguments, but also in the etymology of the name  'Hermes,' where the language we possess is understood as a cryptic message indicating to us humans (but not simply delivering into our possession) a divine wisdom. Thus, as essentially the recipient of this message, which is to say, as having been called toward 'what is' by the gods, the human's proper, indeed pious, response is dialectical question and answer, the Socratic practice of searching and investigating together.

Le Traité de l'argumentation 1 de Chaïm Perelman, paru en 1958, a ouvert un nouveau champ de recherches en même temps qu'il a établi les fondements méthodologiques de la Nouvelle Rhétorique, rompant ainsi avec la méconnaissance moderne du raisonnement non formel. Si la rhétorique renouvelée par Perelman, et définie comme Γ« étude des techniques discursives permettant de provoquer ou d'accroître l'adhésion des esprits aux thèses qu'on présente à leur assentiment », s'est jusqu'ici surtout illustrée par des travaux sur le raisonnement juridique, à la fois modèle et objet de l'argumentation naturelle, il semble qu'elle suscite aujourd'hui un grand intérêt dans le domaine ouvert de la science politique. Celle-ci peut en effet trouver dans la Nouvelle Rhétorique un instrument précis et éprouvé lui permettant d'aborder le discours politique saisi dans sa fonction première d'art de persuader et de convaincre, impliquant la mise en oeuvre des techniques de la délibération et de la discussion. La Nouvelle Rhétorique, en outre, fournit aux linguistes intéressés par les stratégies argumentatives les éléments d'une problématique, et aux politologues une voie d'accès privilégiée à l'intelligence des stratégies politico-culturelles.

«Hermetism» и «Hermeticism» - два термина, которые на русский язык часто переводят как «герметизм», тем самым убирая различия между этими понятиями. Из-за отсутствия разграничений в исследовательской терминологии, которая в том числе доступна и широкому кругу интересующихся герметизмом как таковым, мы можем наблюдать ряд обобщений и путаницу в вопросе, что такое герметизм и какой он бывает.

Определяя и демаркируя понятия «герметизм» и «герметицизм», мы сможем в будущем избежать ряда ошибочных и предельно обобщенных суждений. Оба этих понятия являются исследовательскими маркерами, основанными на самоназваниях герметизма: Hermetica, Ars Hermetica, Philosophica Hermetica и др. Такой анализ определений уже проводился в недавнем времени зарубежными исследователями: Френсис Йейтс, Антуан Февр, Воутер Ханеграаф, Флориан Эбелинг и др. Исходя из этих исследований наряду с термином «Герметизм», можно вывести рабочее определение термину «Герметицизм».

The ancient text of the Tabula Smaragdina (Emerald Tablet), after it had been translated into Latin, has taken a prominent position within the spirituality of the West. The few surviving lines have inspired a whole epoch, so that one may speak of a time before and a time after its discovery. As a graphic enhancement, the text later received an emblem and the whole was included into the book Secret Symbols of the Rosicrucians. 1 After this contribution initially outlines the history of the text and the emblems, it will concentrate, with the aid of selected images from Rosicrucian and alchemical literature of the late middle ages, on the interpretation of the individual symbols of the emblem. When these different images of the emblem in their symbolic meaning, as well as in their relationship to each other, are analyzed and become clear, they will open themselves up to modern consciousness. Thus it will become apparent that the emblem of the Emerald Tablet deserves to take a central place within the Secret Symbols of the Rosicrucians, as it represents the essence of Rosicrucian wisdom.

The idea of a trickster has established itself as a cultural hero whose creativity extends and strengthens the culture of the mythological world they belong to. They are almost always male, and each of them has their own distinctive ways to handle the situations, but all of them cling to a certain set of features that make them alike. Tricksters basically hold a double-edged sword; they are the embodiment of binary oppositions, they are deceivers, shape-shifters, invert-ers and messengers of the gods. Greek god, Hermes and the Norse god, Loki are among such tricksters and both of them bear a resemblance in the ways they conduct themselves. (Spinks) A trickster is both a creator and destroyer, giver and negator, a bestial and divine being. This duplicity almost shows itself in every case for Loki and Hermes. While Loki's mischief is the root of many troubles, he is also the one who solves those troubles with similar mischief. For instance, after stealing Sif's hair, Loki takes a bet with Brokk who gets to take Loki's head in the end. Even though Loki loses the bet, he comes up with one more trick up his sleeve. Thus Brokk never gets to return with Loki's head. Nevertheless, Loki is the one who provides gifts to gods like Thor's hammer. (Gaiman) Another trickster is the Greek god, Hermes who is a messenger and less of a central focus but shares a similar ground with Loki when it comes to the inventiveness and creativity. Hermes was only a baby and the first thing he did was to kill a turtle to make a lyre from the shell. Shortly after, he stole Apollo's cattle and herded backwards as to not have the tracks easily followed. Apollo soon learned this, but they resolved the problem and exchanged gifts. Apollo gave Hermes a whip, and Hermes gave Apollo the lyre he had invented and this became Apollo's symbol as a God of music. (March 97-8) Consequently, both Loki and Hermes are akin to each other in regards to trickery and inventiveness. Identifying them according to these features might be fairly easy, but providing a consensus about their essential nature is a heavy task. Who and what they are (or can be) lie deep within their repertoire of tricks which leave us in a stage full of ultimate ambivalence, thus Loki and Hermes become so elusive that they disappear as quick as a magic trick in this sea of possibility .

The mutilation of the herms is among the best-documented and most notorious episodes of the Greeks’ violence toward their own religious sculptures. There has been little analysis of the incident from an art historical perspective, as an example of damage to sculptures and the responses it evoked in Classical Athens.  This article draws on archaeological and artistic evidence to analyze how the Athenians responded to the mutilation of the herms.  It identifies a range of visual strategies, from the retention of intact monuments to the repair of damaged ones and the ritual disposal of those too injured to restore.  It examines as well the creation of counter-monuments, above all, the large-scale, prominently displayed stelai which detailed the auctioning of property from those convicted in the affair.  Taken together, these works suggest a forceful yet nuanced response to the attack in its immediate aftermath, centered upon the maintenance of traditional religious sculptures and the erection of new monuments celebrating the power of the Athenian demos.

Understanding The Red Book as an improvisation and Jung as an
improviser offers a new approach to understanding the active
imagination and the analytic method that emerged from it. Such
an approach uncovers the mētic spirit – the spirit of polytropic
intelligence – that informs The Red Book and the archetypal figure
of Hermes/Mercurius/Trickster that informs all improvisations and
will come to dominate Jung’s career. The rhetoric of improvisation
in The Red Book conveys that, uncontaminated by the directed
consciousness or ego, personae and imagoes arise spontaneously
from his unconscious and control him, not he them. Such gestures
privilege non-rational ways of making art and knowing the self and
world, part and parcel of the paradigm shift that characterizes the
20th century. Jung’s Red Book is on the leading edge of that effort
to shift from objective rationality to a rationality that can embrace
subjective elements: the unconscious and the irrational, not just
the “broad highways” but also the “back alleys” of human experience.

La communication suit le pouvoir comme son ombre. À tous ses niveaux, la politique a besoin de communication pour se réaliser pleinement. On peut aller jusqu'à affirmer que communication et politique nouent des liens consubstantiels couvrant plusieurs dimensions, et ce bien avant l'essor des médias de masse. Depuis toujours, toute forme d'autorité politique se met en scène et en récit pour imposer ou confirmer son statut et pour mobiliser ses assujettis et les convaincre si besoin est. Au coeur de sa légitimité, on trouve la démonstration de sa capacité à agir, en affichant son pouvoir de faire changer les choses. Cet objectif est recherché par la scénographie des décideurs (la théâtrocratie ; Balandier, 1992), par l'énoncé de discours sur les intentions d'agir (la rhétorique), par la fabrication de représentations visuelles des institutions et des principes qui accomplissent et guident leurs actions (le marketing), par des tentatives de contrôle des informations qui circulent au sujet de ces actions (censure directe et pressions ou relations publiques) et par la mobilisation de tous les moyens de communication pour conditionner la société (la propagande).

, as a field of scientific research, is a set of stories, mythos in Greek meaning ‗story' or ‗legend' and logos ‗word'. Usually, the myths are works of literature. The term mythology may include all the myths of religion or culture. Throughout history, these stories have circulated as works of literature, folk tales (ballads, odes, songs, songs of bravery) or based on historical sources written at different ruler's courts or monasteries. In this paper I will present a number of similarities between Greek and Roman deities and the slavic ones, basing my research as much as possible on the information provided by an etymological analisys, a description of the deity as well as rituals, offerings, sacrifices and celebrations dedicated to the deities. As a main source for Slavic deities, I used a compilation of medieval and religious texts written in the Kievan Rus' by monk Nestor, called the Russian Primary Chronicle or Nestor's Chronicle. This script presents Russian history and Kievan Rus between 850-1110 years, written in Kiev during Iziaslav Sviatopolk the second's (Grand Prince of Kiev 1093-1113) reign. The Chronicle is German-Scandinavian inspired, since the Prince Sviatopolk's (the principality's ruler) policy was pro-Scandinavian. Also, I could list following volumes: Dictionary of Slavic mythology by Ilie Danilov and Slavic mythology by Sorin Paliga. In addition to these works, information about Slavic mythology can be found in the following books:

As a Tarot card reader the question of authenticity is an important one. The scientific scepticism and theological prejudice that both tarot reading and divination in general endure, often exists as a ‘hangover from history’ - a negative position inherited by people today regardless of their religious beliefs or scientific credentials. For such people the authenticity of Tarot cards and tarot ‘reading’ may well be difficult to prove. Yet regardless of the historical consensus, Tarot reading does still retain a place in modern popular culture for those intrigued by the divinatory act and its potential revelations. The irony of the sceptical position may be seen in the history and evolution of ‘divinatory consciousness’, in the movement away from the ancient world’s obsession with uncovering the ‘will of the Gods’, to what divination actually reveals for us here today. Those willing to take a seat in front of a Tarot card reader will often wait nervously in anticipation for the latest update, not from Zeus but on what is perhaps the modern minds most beloved subject - themselves!

"ABSTRACT:
    This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
    Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
    Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

Retumbó el trueno, relampagueó y el velo del Templo se rasgó de arriba abajo.
El venerable iniciador, con sus vestiduras azules y doradas, levantó lentamente su bastón cubierto de joyas y señaló con él la oscuridad revelada al desgarrarse la cortina plateada. «¡Contemplad la luz de Egipto!». El candidato, con su sencilla toga blanca, miró la total oscuridad enmarcada por las dos columnas inmensas con cabeza de loto, entre las cuales había estado colgado el velo. Mientras observaba, una bruma luminosa se distribuyó por toda la atmósfera hasta que el aire se convirtió en una masa de partículas brillantes.

Hino Homérico XVIII-A Hermes Canto ao Hermes Cileno, o assassino de Argus, senhor de Cilene e da Arcádia rica em rebanhos, o que traz a sorte, mensageiro dos deuses imortais. Ele nasceu de Maia, a filha de Atlas, quando ela esteve com Zeus,-uma tímida deusa ela. Sempre ela evitou o tropel dos deuses abençoados e viveu em uma caverna sombria, e lá o Filho de Cronos costumava se deitar com a ninfa de ricos cachinhos à calada da noite, enquanto a Hera de braços brancos caía em um suave sono: e nem um deus imortal e nem um homem mortal sabiam disso. E então te saúdo, Filho de Zeus e Maia; contigo eu comecei: agora me voltarei à outra canção! Saúdo-te, Hermes, doador das graças, guia e doador das boas coisas! (tradução da Alexandra) Hino Homérico XVIII: A Hermes Hermes celebro, Cilênio Argicida De Cilene guardião e Arcádia de mil rebanhos núncio de imortais próvido que Maia filha de Atlas a Zeus em amor unida venerável engendrou: de venturosos Deuses evita companhia habitando antro umbroso, onde Cronida à ninfa de belas tranças unia-se no apogeu da noite enquanto doce sono tinha à Hera bracinívea, oculto a Deuses imortais e homens mortais. [Assim saúdo-te, Filho de Zeus e Maia Ao principiar por ti, passarei a outro hino.] Salve, Hermes caridoso Mensageiro dador de bens. (tradução de Rafael Brunhara) Hino Órfico a Hermes, com fumigação de olíbano Ouve-me, Hermes, mensageiro de Zeus, filho de Maia, Com um peito onipotente; Deus dos jogos, regente dos mortais, Benévolo astuciador, emissário Argicida [Argeifontes] De aladas sandálias, amigo dos homens e profeta da palavra aos mortais, Tu te alegras na ginástica e em ilusões ardilosas, serpentário Intérprete de tudo, fonte dos lucros, alívio de nossos cuidados, Que tem nas mãos a impecável arma da paz; Corício, venturoso provedor de variado falar, Auxiliador dos trabalhos, amigo dos mortais em necessidade, Terrível arma da linguagem, venerável entre os homens: Ouve as minhas preces, e fornece o nobre fim de uma vida De trabalhos, de gráceis palavras e lembranças. (tradução de Rafael Brunhara)

More than 20 years after presenting his first interpretation of the mosaic from the House of Aion in a paper entitled “Uwagi na temat mozaiki z Domu Aiona w Nea Paphos (Cypr)” (Meander 9/10, 1987, p. 421-438, in Polish, and translated to English: « The Immortality of the Human Soul and the Dionysiac Mysteries in the 4th Century Allegory [in Connection with the Interpretation of the Mosaic from the “House of Aion” at Paphos in Cyprus]»), where he proposed reading the five mythological panels (1. Leda and Zeus; 2. Dionysus on Mount Nysa; 3. The Dionysian thiasos; 4. Apollo and Marsyas; 5. The Apotheosis of Cassiopeia) as an allegory of the destiny of the human soul and body, starting with conception and ending with the liberation of the soul and its apotheosis, the author now enhances his initial interpretation with numerous reflections concerning the historical context of this work of art, created in the years 320-360.
If, according to the author, the mosaic is a “Hymn” in honour of the pagan gods, Man (his soul) and his place in the (pagan) universe, then at the same time it polemicises with the Christian faith and its God, Jesus Christ.
The author puts forward numerous new solutions relating to the mosaic’s iconography and iconology. Analysis of the mosaic also leads him to propose a solution to the as-yet unanswered question regarding the absence of images of the crucified Christ in Christian art of the 3rd and 4th centuries, up until 420/430, when the first images of Christ on the cross appear.
CONTENTS:
Introduction
1. Research to-date (recap)
2. Description of mosaic (recap)
2.1. Composition of five mythological scenes
2.2. Brief iconographic description of mythological panels
2.3. Outline of individual iconographic elements and their respective roles
2.4. The pagan gods’ air of majesty and dignity as an expression of piety
3. A few words about the pagan reaction
4. An apology of pious human life according to pagan principles and a polemic on the Christian model of Man and his theological idol, Jesus Christ
4.1. Divine intervention in the act of human conception (allusion to/polemic on the Annunciation to the Virgin Mary)
4.2. The Epiphany of Dionysus (an allusion to the Epiphany of Christ – Theou Pais)
4.3. The procession and dissemination of Dionysian order (allusion to/polemic on Christ’s entry into Jerusalem)
4.4. The error of Marsyas (polemic on/allusion to the error of Jesus the Messiah): arrest, sentencing for arrogance and lack of piety (asebeia) and condemnation to a martyr’s death
4.5. The anabasis (or anagoge psyches) of a ‘beautiful soul’ (allusion to/polemic on the Ascension of Christ)
5. A few words on the mosaic programme prior to final conclusions
Final conclusions
Key words: mythological mosaic, House of Aion, Nea Paphos, Late Antiquity, Roman art, allegorical narrative, allusive language of mythological pictures, wordplay (Marsyas-Messias), Jesus Christ, anti-Christian polemic, Dionysos, Cassiopeia, Apollon, Nereides, Abstract Personifications, Greek Mythology, ΚΥΠΡΟΣ

В сборник включены материалы конференции «Индоевропейская история в свете новых исследований», посвященной памяти известного археолога и историка В.А. Сафронова. Для археологов, историков, специалистов в области гуманитарных наук и широкого круга читателей, интересующихся проблемами индоевропейской истории.

Mythology is a science that guides our lives from past to present. Especially before the heavenly religions, the role of mythology in shaping the life of human beings cannot be underestimated. Therefore, many societies have created mythologies and come up with myths they believe in. Some societies has comprehensive mythologies. These myths that have emerged have reached today in verbal or written form.

While preparing this work titled ‘’Hermes in Greek Mythology and Art’’, firstly, information in the sense of general mythology was given and then Greek mythology and art were explained, and readings and literature reviews about Hermes and related gods were made. In the content of the study, the myths that tell about Hermes and give important details about him were used, and the works in which he took part in Greek art were included.

This paper examines ancient glyptics that provide evidence for the merging of the cults of Thoth, the Egyptian god of wisdom and writing, and Graeco-Roman Hermes/Mercury. With the use of semantics and iconological methodologies, the paper demonstrates that the popularity of the syncretic deity Hermes-Thoth was far greater than previously thought and, in fact, comparable to that of other syncretic figures, such as Hermanubis. This is possible because the analysis is not limited to the iconography of magical gems that clearly refer to this deity represented in figural form, but also encompasses symbolic amulets featuring rebuses which, if properly read, refer to Hermes-Thoth as well. It is argued that kerykeion was not the only Hellenising element used to mark Hermes's nature in the cult of Hermes-Thoth. The article also contributes to the wider discussion on the identification and function of magical gems and amulets in general.

In this essay I will attempt to introduce Surrealism’s relationship with the elements of Western European traditions of thought that have come to be defined as ‘esoteric’. The
historical and social impact of this union draws into focus the direct concerns of the ‘esoteric’ within art and its perceived ability to impact on society as well as the individual. A short analysis of Alejandro Jodorowsky’s The Holy Mountain then aims at identifying further key features of ‘esoteric’ art, as well as add further answers to some important questions. Can ‘esoteric’ art be defined by a simple re-presentation of ‘esoteric’ symbols and images? Are there any pre-requisites that exist for creators as well as viewers of ‘esoteric’ art? This analysis aims to answer such questions, but firstly a clarification of the term ‘esoteric’, and its place within western religious thought, becomes necessary in order for us to refine our definition of what is esoteric art.

Επαναφέροντας στη μνήμη ένα χαμένο σήμερα ενεπίγραφο βάθρο της λατρείας των Καβείρων στην Αμφίπολη, μέσα από 3 παλαιές δημοσιεύσεις, ερμηνεύοντας την επιγραφή και αναλύοντας την σχέση της Αθηνάς και του Ηφαίστου, με τους μεταλλοτεχνίτες, την μαντική, τον Διόνυσο και την Δήμητρα.

Primitif kültürlerden Modern Tek Tanrılı inanışlara dek kesintisiz biçimde hareket eden dinsel bir figür olarak Hermes "eşik" ile ilişkili ilk imgelerin taşıyıcısıdır. Bu kapsamda bilgi, kültür getiren hayvan ata, yeniden dirilme ya da Tanrı ile haberleşme gibi mitsel anlatıların farklı kültürlerdeki işlenişinde merkezi bir rol oynar. Bu belgede Hermes figürünün dinsel ve tarihsel kökenlerinin yanı sıra tarihsel dönüşümleri hakkında da karşılaştırmalı bilgiler sunumu hedeflenmiştir.

Yararlanılan kaynakça sayfa altlarında değerlendirilmiştir.

I discuss Kallimachos’ handling of statues in his collection of Iambi, particularly in the seventh iambos. His treatment of the statues in the Hymns, Aitia and Epigrams seems to correspond to the constraints of each genre, and I argue that this is the case with the statues in the iambi as well. If we pay special attention to Kallimachos’ understanding and re-fashioning of the iambic genre, and to the general themes of the book, I think we can interpret the statues in it in a new light. I discuss Iambus 6 in Petrovic (2006). In this paper, I discuss Iambus 7, the central poem of the collection. Kallimachos presents an ancient cult statue of Hermes Perpheraios that speaks of its origins and the institution of its cult in the city Ainos in Thrace. I argue that this statue of Hermes is the embodiment of the Archaic Iambic genre.

The Hermes of the Richelieu Type
This article considers the question of what factors the Hermes of the Richelieu type, the most famous ancient statue of Hermes, owe its popularity to. It shows that neither the iconography of the statue, its size or artistic quality nor the name of the sculptor could have had a decisive influence on the quantity during its more than 300 year long reception. The dissemination of the statuary type throughout the Roman Empire is more likely to be attributable to aspects of a technical nature: the original must have stood at an easily accessible spot – perhaps in Athens – and was probably continually recast there. For years the various casts apparently served as models so often that the copies produced were able to meet not only the strong local demand – for instance in the Peloponnese and northern Greece – without any difficulty, but also transregional demand. The spectrum of use of this type is unique: there are copies, partial copies in the form of busts and herms, copies with a portrait head, copies with a portrait head and cuirass, thematically altered copies and diverse mythological transformations.

 
  Zusammenfassung (deutsch)
Ausgangspunkt des Aufsatzes ist die Frage, welchen Faktoren der Hermes Typus Richelieu, die berühmteste antike Statue des Hermes, seine Beliebtheit verdankt. Es wird gezeigt, dass weder die Ikonographie der Statue, noch ihre Größe oder ihre künstlerische Qualität oder der Name ihres Bildhauers einen entscheidenden Einfluss auf die Quantität der mehr als 300 Jahre währenden Rezeption gehabt haben können. Den Ausschlag für die Verbreitung des statuarischen Typus im ganzen römischen Reich werden vielmehr Aspekte gegeben haben, die technischer Natur sind: Das Original muss an einem gut zugänglichen Ort – vielleicht in Athen – gestanden haben und durfte dort immer wieder abgegossen werden. Dabei haben die einzelnen Abgüsse offenbar jahrelang derartig häufig als Vorlage fungiert, dass mit den Kopien nicht nur die starke lokale Nachfrage, etwa auf der Peloponnes und im nordgriechischen Raum, problemlos gedeckt werden konnte, sondern auch die überregionale. Das Spektrum der Verwendung des Typus ist einzigartig: Es gibt Kopien, Teilkopien in Form von Büsten und Hermen, Kopien mit Porträtkopf, Kopien mit Porträtkopf und Panzer, thematisch veränderte Kopien und diverse mythologische Umdeutungen.

Alchemy is not only the origin of systematic experimentation and chemistry but also the first attempt to create a cohesive science of consciousness. Those early philosophers of nature treated mental contents as objective phenomena, and they believed the universal operations used in their laboratories could transform a dark leaden mind into a shining golden one. The Hermetic philosophy behind alchemy taught that our thoughts and feelings are the thoughts and feelings of the whole universe, and that intrinsic perspective generated deep insight into the structure of mind. Alchemists viewed consciousness as a natural force that could be harnessed through a marriage of logic and intuition – a union of objective and subjective realities. Like modern seekers of a unified field theory, alchemists sought one true philosophy of universal principles that were as valid in Nature as they were in their own minds and souls, and in the One Mind of the Cosmos. The resulting cauldron of ideas on mind and matter leads to a truer understanding of the Philosopher's Stone – not as an object but a state of mind. Les racines d'une Science de la Conscience dans l'Alchimie hermétique par Dennis William Hauck, Ph.D. Résumé L'Alchimie n'est pas seulement à l'origine de l'expérimentation systématique et de la chimie, elle constitue également la première tentative de créer une science de la conscience. Ces premiers philosophes de la nature tenaient le contenu du mental pour un phénomène objectif ; ils croyaient en effet que les opérations universelles, qu'ils effectuaient dans leurs laboratoires, étaient en mesure de transformer un esprit sombre de plomb en un d'or resplendissant. La philosophie hermétique, sous-jacente à l'alchimie, enseignait que nos pensées et nos sentiments sont les reflets des pensées et des sentiments de l'univers tout entier, cette vision intrinsèque générant un aperçu profond de la structure du mental. Les Alchimistes énonçaient que la conscience est une force naturelle pouvant être jugulée par un syncrétisme de logique et d'intuition – autrement dit, une union des réalités objective et subjective. À l'instar des actuels chercheurs d'une théorie unifiée de l'Univers, les alchimistes d'antan recherchaient une véritable philosophie de principes universels qui fût autant valable dans la nature, dans le mental et l'âme humaine, que dans le Mental cosmique. Le chaudron de réflexions sur l'esprit et la matière qui en résulta, conduisit à une compréhension plus vraie de la Pierre philosophale – non pas comme un objet, mais comme un état d'esprit.

The ancient city of Pednelissos is located within the borders of Antalya province and it is possible to suggest that it was inhabited at least from the beginning of the Hellenistic Period. There are three figures on the grave stele from Pednelissos. To the left, Hermes dressed in chlamys is leaning against an angular plaster or wall. Also it has kerykeion, talaria and maybe petasos. In this stele, Hermes is found especially as a psychopompos. Hermes, by being depicted smaller than the man who owns the grave stele on his right, also enables the deceased to become a hero. In addition, Hermes keeps his feet crossed like the servants on the grave steles and exhibits a mourning pose for the dead. It is possible to consider Hermes' mourning for the dead as a kind of farewell scene. Hermes may also have assumed a role as the savior and supporter of the deceased person and perhaps his relatives. It can be said that Hermes’ stance was modeled Praxiteles’ Leaning Satyr. The man who owns the stele becomes a hero here, and the origin of the divine stance seen in him must be a Zeus statue of Pheidias. The lion on the stele, on the other hand, symbolizes the stele owner's victory over death and attaining immortality and the power of this person, in addition to its protective feature. The Pednelissos Grave Stele is a frameless grave stele, Attic type or produced in this tradition. The stele may have been made by a local craftsman who knew the Attictype grave stele tradition in Pednelissos, or by a traveling craftsman who stopped by here. It is also possible, though less likely, that the stele will be traded to order. In addition, it is possible to accept the grave stele as a unique work, in which the variation of the two works belonging to Pheidias and Praxiteles is given successfully. The Pednelissos Grave Stele can be dated to the Late Hellenistic Period, around 150-50 BC.

The careful study of the Roman copies of a well-known sculptural type allows to reconstruct a bronze statue of Hermes by Polykleitos in nearly every detail. In its size and in its guise of a speaker this statue closely resembles two or three other statues of Hermes, which have been created likewise around the middle of the 5th century B.C., thus making highly plausible the existence of a group of statues of Hermes. The sculptors of the three or four statues of Hermes are probably identical with those who are responsible for the most famous ensemble of statues of one and the same theme, the Ephesian amazons.