Phoenix

Publications Lawrence E. Frizzell Shaping a Christian Response Within the Greco-Roman World. shaping the response of early Christianity to the Hellenistic Greco-Roman culture of its time. Hellenization Revisited: Shaping a Christian Response Within the. Hellenization revisited : shaping a Christian response within the. The Alexandrinus Text of 4 Maccabees* 1-21 in W.-E. Helleman. Hellenization Revisited.

Objective. Several studies have indicated that changing body positions results in altered grip strengths. Although one might expect that grip strength would be influenced by the position ofthe forearm during gripping due to the biomechanical properties ofthe forearm and hand muscles, no investigations ofthis variable have been undertaken.

US local governments purchase US$1.72 trillion of goods and services annually that contribute to global climate change and other environmental problems. Cities that successfully implement environmental purchasing policies can mitigate these environmental concerns while saving money and demonstrating their environmental leadership. However, cities confront numerous challenges when implementing an environmental purchasing policy. This chapter identifies the facilitators and barriers of implementing an environmental purchasing policy. It draws on the experiences within the City of Phoenix as an example and offers eight recommendations for how the City of Phoenix and similar cities can integrate environmental purchasing more fully into their existing purchasing processes.

CH RY ANN COX PROPERTY, MARRIA6E STRATEGIES, AND FAMILY DYNAMICS IN ANCI ENT ATH ENS Household Interests K one of the first books to explore in-depth the nature of the Greek household (oikos) in classical Athens. Whereas the oikos traditionally has been ...

From the center of Imperial Rome to the farthest reaches of ancient Britain, Gaul, and Spain, amphitheaters marked the landscape of the Western Roman Empire. Built to bring Roman institutions and the spectacle of Roman power to conquered peoples, many still remain as witnesses to the extent and control of the empire.

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Background: Most heat-related deaths occur in cities and future trends in global climate change and urbanization may amplify this trend. Understanding how neighborhoods affect heat mortality fills an important gap between studies of individual susceptibility to heat and broadly comparative studies of temperature-mortality relationships in cities.

Objectives: We estimated neighborhood effects of population characteristics and the built and natural environments on deaths due to heat exposure in Maricopa County, Arizona (2000-2008).

Methods: We used U.S. Census data and remotely sensed vegetation and land surface temperature to construct indicators of neighborhood vulnerability and a Geographic Information System to map vulnerability and residential addresses of people who died from heat exposure in 2,081 census block groups. Binary logistic regression and spatial analysis were used to associate deaths with neighborhoods.

Results: Neighborhood scores on three factors – Socioeconomic Vulnerability, Elderly/Isolation, and Unvegetated Area – varied widely throughout the study area. The preferred model (based on fit and parsimony) for predicting the odds of one or more deaths from heat exposure within a census block group included the first two factors and surface temperature in residential neighborhoods, holding constant population size. Spatial analysis identified clusters of neighborhoods with the highest heat vulnerability scores. A large proportion of deaths occurred among people, including homeless persons, who lived in the inner cores of the largest cities and an industrial corridor.

Conclusions: Place-based indicators of vulnerability complement analyses of person-level heat risk factors. Surface temperature might be used in Maricopa County to identify the most heat-vulnerable neighborhoods but more attention to the socio-ecological complexities of climate adaptation is needed.

Voici un moment important pour moi d'adresser mes sincères remerciements à tout le personnel de l'INSAE et particulièrement aux agents de la Direction des Statistiques Sociales (DSS). Que le Directeur Général de l'institut, M. Alexandre BIAOU trouve ici l'expression de ma sincère reconnaissance. Je me dois de remercier tout particulièrement M. Djabar Dine ADECHIAN pour m'avoir accepter dans sa direction et choisi de veiller personnellement sur le bon déroulement de mon stage, conscient que l'accueil d'un étudiant dans une structure n'est pas chose aisée. Malgré vos nombreuses occupations vous aviez toujours su m'accorder du temps chaque fois que cela était nécessaire. Mes sincères remerciements à vous M. DANSOU Sylvestre, chef service condition de vie des ménages ainsi qu'à votre collaborateur M. ADJOVI Claude qui n'avez ménagé aucun effort pour m'associer aux différentes tâches effectuées dans votre service. A vos côtés, j'ai énormément appris sur l'élaboration de l'IHPC et je vous en suis reconnaissant. Mon passage de la théorie à la pratique a été véritablement effectif grâce aux agents de collecte et de saisie des prix avec qui je suis allé dans les marchés et les boutiques. Je veux nommer messieurs Parfait AINADOU, Jonas ASSIGNITOU, Loukmane LATIFOU et Marcel AKOHONWE à qui j'exprime ma profonde gratitude. J'exprime également ma sincère reconnaissance à vous M. El Hadj SECK, professeur de Techniques d'Expression à l'ENSAE ainsi qu'à mon aîné Bruno ABILOU pour le temps que vous aviez bien voulu accorder à la relecture de mon rapport. Vos conseils et suggestions m'ont étés d'une utilité notoire.

This article explains how the Metonic cycle is at the base of the period of 216 years Pythagoras believed in beingreborn after that period. It shows how this period calendrically is related to other mythological worldviews such as the Phoenix myth, the Hebrean Hazon Gabriel, and the Christian dogma of resurrection on the third day.

One of the most famous antique carpets, the Dragon and Phoenix rug now in Berlin: Museum fur Islamische Kunst, inventory # I. 4, has been unconvincingly and vaguely attributed to the 15th century as the work of Qaraqoyunlu Turkmen Dynasty.  This is in part due to late 19th and early 20th German scholarship that assumed rugs from the Near East were automatically the work of Islamic craftsmen and women, particularly Turkmen and later Ottoman, but with no precise documentation.  This general undocumented supposition also applied to Oriental carpets depicted in hundreds of Renaissance Italian paintings, although all of them are presented in a Christian context, particular associated with the Virgin Mary.  The author presents firm documentation involving both historical but especially earlier iconographical examples of the dragon-phoenix motif in Armenian art of the late 13th century, borrowed directly from the source of this coupling of animals, China during the Yuan Mongol Dynasty.  He suggests that its most convincing provenance is Armenia perhaps as early as the 14th century.

İnsanlığın ortak hafızasında mitolojinin önemli rolü vardır. Mitolojik zamanlarda bugün yaşamayan veya zaten hiç var olmamış bazı canlılardan destan, efsane ve masallarda bahsedilmektedir. Mitolojik hayvanlar, destansı çağların insan hafızasındaki yansımalarıdır. Bu yüzden mitolojik hayvanlar, destan ve mitlerde iyiliğin veya kötülüğün temsilcileri olarak görev yapmaktadır. Suda, karada ve havada faaliyet gösteren bu mitolojik canlıların en meşhur olanları mitolojik kuşlardır. Bu mitolojik kuşların isimleri birbirinden farklı olsa bile, değişik kültürlerde aynı özellikleri taşıdıkları görülmektedir. Mısır mitolojisindeki Phoenix, Hint mitolojisindeki Garuda, İran mitolojisindeki Simurg, İslamiyet öncesi Arap mitolojisindeki Anka ile
Türk mitolojisindeki Karakuş’un da bu kuşlardan oldukları görülmektedir.

Inside:

--Finding Nefertiti
What if we told you that Nefertiti WAS buried in Tutankhamun's tomb after all? But where is her mummy now?

--The Antiquities Museum in the Library of Alexandria
While building the new Bibliotheca Alexandrina, workers uncovered fabulous antiquities that became part of the collection of the Library's museum! The director shows us some of his favourite pieces.

--The Benu & the Phoenix
Love hieroglyphs? There are LOTS in this article. Meet Benu—the Egyptian bird of resurrection—through the hieroglyphic texts of the ancient Egyptians themselves. And find out if the Benu was the inspiration for the legendary phoenix.

--Gods of Egypt
Images to make you go wow! "Gods of Egypt" is a new exhibition now showing at the Rijksmuseum van Oudheden in Leiden. Explore some of the most spectacular ancient artworks from across Europe.

--Tanis
In this first chapter of a five-part series on royal residences in the eastern Nile Delta, Egyptologist Dr. Nicky Nielsen explores Tanis; its fascinating history, its abandonment and rediscovery.

--Plus, The Nile Crossword, Looking Back and lots more! Enjoy!

Mitoloji, eski Yunan kültürünün bir parçası olmakla beraber zamanla doğu kültürlerinin de bu kavramı benimsediği görülmektedir. Eski Yunanlılarda geçmişte anlatılan olağan dışı olayların tekrar edilmesi anlamına gelen mitoloji, doğu dillerinde aynı anlam ile efsane adını almıştır. Genellikle tanrılar, doğaüstü olaylar ve kahramanları
konu alan mitoloji, dini âlimlerce sözlü olarak yayılmıştır. Konu itibariyle Orta Doğu kültürünün önemli öğeleri olan ve o çevrenin ortak paydası haline gelmiş hüdhüd (ibibik), ziz ve hümâ kuşları bu bölgede yaşayan insanların önemli efsaneleri olmuştur. Nitekim hüdhüdün hem İslam hem de Yahudi kültüründe görüldüğü
ve benimsendiği görülmektedir. Ayrıca Yahudi mitolojisinde geçen ziz kuşunun, İslam kültüründeki Zümrüd-ü Anka kuşu ile benzerliği de bu coğrafyanın kültürel etkileşiminin efsanelerine de yansıdığını göstermektedir. Arap, İran ve Türk kültürlerinde rastladığımız hümâ kuşunun da kültürel etkileşimle bu coğrafyada yaşayan yakın komşuların efsanelerine girdiği görülmektedir.

The article analyzes miniatures from two Armenian manuscripts of the 1280s from the Cilician Kingdom.  In them there are a variety of Chinese motifs, inspired by Oriental luxury items, ceramics or textiles probably, through personal contacts between the Armenian nobility and the Mongol court during a number of visits to the Mongol capital in Qaraqorum and the Il-Khans in Iran.  Among the animals depicted is the famous phoenix-dragon motif, showing the two creatures together, the earliest such representation in the Near East.  The Islamic examples such as the famous large tiles from the Il-Khanid palace at Takht-i Suleyman juxtaposes individual titles with a single animal in adjacent rows, but not together on the same ceramic.  The paper also discusses possible stylistic influences from eastern art and emphasizes the masterly integration of these Chinese elements with the vast decorative scheme of these manuscripts, displaying an enormously brilliant eclecticism with borrowing from Europe as well as the Far East.  Later studies, some already posted here on this theme have further developed the interpretation of such motifs.

ART COLLECTORS, like works of art, have diverse influences and inspirations. They also often flourish in unexpected places, and have unique or individual variations of the collecting passion. For Dr Parvinder Singh Khanuja of Phoenix, Arizona, his Sikh religion and background emphasise the importance of the virtue called "seva" in Punjabi, often translated as “service to community”. Most Sikhs consider seva to be a central tenet of their faith.  [...] Phoenix is the locality where Khanuja practices collecting Sikh art as his own form of service and devotion. [...] Admitting his religiosity is perhaps lacking in sufficient quiet reading of sacred texts, Parvinder S. Khanuja says he considers art collecting a form of religious practice. “At the end of the day”, he says, “collecting is for the community, and also to safeguard this art”. He finds inspiration in several verses of the Sikh sacred book, the Guru Granth Sahib. [...] Recently, he succeeded in fulfilling his long-held dream of building local public awareness of his Sikh culture and religion, by funding a permanent “Sikh Art Gallery” at the Phoenix Art Museum. [...] Khanuja hopes that by means of this gallery at the Phoenix Art Museum, and other opportunities for public dissemination, he can spread awareness of his Sikh religion and heritage through art. He feels that despite being the world’s fifth largest religion by number of adherents, Sikhism is still little known by non-Sikhs. Consequently, he readily agreed to the illustration here of examples from his own collection, not only to introduce this particular collection and himself as a collector, but also to introduce, through these works, some important aspects of the heritage of the Sikhs.
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Published in: Arts of Asia 49(1):107-116 (January-February 2019). See publisher's website for information on purchasing full journal:  https://www.artsofasianet.com/back_issues/

Turquoise swimming pools when seen from above shimmer like a squash blossom necklace on a jet setter's tanned breast. Imported palm trees tower over a surrendering army of native saguaros, while skyscraper mirages of steel and glass gleam in the distance. This western metropolis pushes out more than up though, sprawling over 450 square miles.

The region of Osroene is the area including Edessa (Şanlıurfa), Carrhae (Harran), and Birtha (Birecik) located east of the Euphrates (Fırat) River. The Abgar Dynasty, the major power in the region, overthrew Seleukos's control and regained independence in the region in132 BCE. Family members depicted together and at ease in mosaics of the royal period symbolize the importance of peace within the family and family unity. Of the figures portrayed next to the genearch, the wife is the most striking individual with her dignified pose. Family mosaics indicate that whole family will be together after death as they were in life. A Phoenix and two Orpheus mosaics found in the region also support the pagan notion of a new life after death.

LITTLE HAS BEEN DONE in the way of evaluating the lives of the ancient orators. In the case of the ancient poets scholars like M. Lefkowitz1 and J. Fairweather2 have conclusively demonstrated that their lives often con-tain details simply inferred by biographers from the text of their ...

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Handmade ceramics with painted decoration constitute one of the most outstanding archaeological materials from the Late Bronze Age and the First Iron Age in the Guadalquivir and Guadiana valleys, the context in which the Tartessian culture developed. In this work, an exhaustive study of these ceramic styles has been attempted, defining their technical characteristics, dispersion, forms, decoration, symbolism, chronology, use and meaning. To this overall study are added several unpublished pieces by Alarcos, some with archeometric and content analysis, the results of which allow questioning their traditional consideration as 'post-firing ceramics'. This characterization allows an orientation in the classification of some styles traditionally considered as a monolithic set when really, there is a much more complex panorama due to different chronological and cultural circumstances. Among the latter, the relationships and contacts established between local communities and Mediterranean populations stand out, giving rise to cultural phenomena of miscegenation or hybridization in which local tradition was combined with all exogenous contributions, a fossilized reality in these productions. This book presents the most complete and up-to-date work on these ceramics, studied from the perspective of new theoretical-methodological approaches and recent interpretations.

Las cerámicas a mano con decoración pintada constituyen uno de los materiales arqueológicos más destacados del Bronce Final y de la Primera Edad del Hierro en los valles del Guadalquivir y del Guadiana, contexto en el que se desarrolló la cultura tartésica. En este trabajo se ha abordado un estudio exhaustivo sobre estos estilos cerámicos, definiendo sus características técnicas, dispersión geográfica, formas, decoración, simbolismo, cronología, uso y significado. A este estudio de conjunto se añaden varias piezas inéditas de Alarcos, algunas con análisis arqueométricos y de contenido cuyos resultados cuestionan su tradicional consideración como “cerámicas postcocción”.

Dicha caracterización permite una orientación en la clasificación de unos estilos tradicionalmente considerados como un conjunto monolítico, cuando realmente subyace un panorama mucho más complejo que obedece a diversas circunstancias cronológicas y culturales. Entre estas últimas destacan las relaciones y contactos establecidos entre las comunidades locales peninsulares y las poblaciones mediterráneas, dando lugar a fenómenos culturales de mestizaje o hibridación en el que se conjugó la tradición local con todas las aportaciones exógenas, una realidad fosilizada en estas producciones. En definitiva, se trata de la obra de conjunto más completa y actualizada sobre estas cerámicas, estudiadas desde la perspectiva de los nuevos enfoques teórico-metodológicos y las recientes interpretaciones.

We conducted microclimate simulations in ENVI-Met 3.1 to evaluate the impact of vegetation in lowering temperatures during an extreme heat event in an urban core neighborhood park in Phoenix, Arizona. We predicted air and surface temperatures under two different vegetation regimes: existing conditions representative of Phoenix urban core neighborhoods, and a proposed scenario informed by principles of landscape design and architecture and Urban Heat Island mitigation strategies. We found significant potential air and surface temperature reductions between representative and proposed vegetation scenarios: 1) a Park Cool Island effect that extended to non-vegetated surfaces; 2) a net cooling of air underneath or around canopied vegetation ranging from 0.9 °C to 1.9 °C during the warmest time of the day; and 3) potential reductions in surface temperatures from 0.8 °C to 8.4 °C in areas underneath or around vegetation.

Rosalind Thomas began her scholarly career by investigating the boundary between orality and literacy in ancient Greece. 1 In this, her third book, she turns her attention, by contrast, to a more modernsounding aspect of early Greek historiography, emphasizing that Herodotus' Histories was a work that grew out of and partook largely in the methods of fifthcentury scientific enquiry.

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

Whilst Kant's work has been important for understanding the orbit of Schelling's Naturphilosophie, this is often considered only in relation to the Critical philosophy. The aim of this paper is to suggest a connection between the pre-Critical Kant and Schelling's Naturphilosophie. Whilst on the surface this may seem like a futile task, in this paper I hope to show that Schelling was engaged with Kant's early work and that he even offers a critique of it, opening the path to an until now understated area of scholarship on the relationship between the two thinkers. I analyse one section (the Siebentes Hauptstück) from Kant's 1755 work, Allgemeine Naturgeschichte und Theorie des Himmels followed by an analysis of one section (the Zweiter Hauptabschnitt) from Schelling's 1799 work, Erster Entwurf eines Systems der Naturphilosophie.

Se propone un análisis exhaustivo del mito del ave Fénix en el pensamiento simbólico romano y su evolución desde la tradición griega hasta su redefinición cristiana. Para ello, se prestará atención a las principales fuentes textuales, iconográficas y epigráficas de época romana documentadas hasta el día de hoy.
It is proposed an exhaustive analysis of the Phoenix myth in the Roman symbolic thought and its evolution from the Greek tradition to the Christian redefinition. For this purpose, we will study each of the main textual, iconographic and epigraphic sources of the Roman period.

Transforming and integrating former industrial landscapes is quite an actual problem in establishing new purposes, activities and community new life within the city. Evaluating the site and establishing priorities, values and potential is one of the first actions to be done in such situations, than the second one could be a draft listing of the successive initiatives and diverse costs on expenditure and possible futures incomes. Different scenarios are important, and also the transformation of the further possible places atmospheres are to be evaluated, together with the local real-estate policies but also the resulted value of the place, thought as cultural sustainability according to the city, region and time metamorphosis. Including a part of the industrial buildings on a short list or a 'red list' and protect their future alteration is a first action to be done when intervenes in industrial landscapes. Preserving, preserving and improving on different scales gives history and memory needed to local communities and the sense of place for global initiatives. Accepting (by locals) the transforming built landscapes is another issue to be considered, so the continuity has to be contended in developed layers of culture and public space coherence. Glocality and sustainable interventions should be constituted in thinking also at inherited society means but also giving opportunities on establishing new traditions. Present text essay/paper aims to recommend a case study: a possible experiment and the theory besides the experiment, that is a new important chapter in research through architecture with significance based on initiatives on cultural sustainability: Phoenix Project Dortmund. The Phoenix Project resides in a continuous development with two main areas that have supposed transforming the built landscapes of two integrated industrial sites: one of coal exploitation and one of coal processing, in a traditional area as Germany RUHR region used to be in the past. After eco-greening the site(s), the first area becomes a inner city sea lake (filling the hole of coal exploitation) establishing a development from the scratch with integrated residence housing and condominiums, together with commerce and spaces for offices connected through a large opened pedestrian side to the sea lake, and the second one becomes an integrated cultural in process site to the city of Dortmund. The Phoenix Project was presented on the site(s) by the urban planner specialists from the City Hall Development Department of Dortmund, within the conference workshop and study trip organized on this occasion. The event Urban Futures -Implementing Cultural Sustainability in Governance and Spatial Planning took place on 3-5th December 2014 in Dortmund (hosted by

Il tempo delle fenici e degli unicorni è il tempo speso da Giulia Farnese a Carbognano, in provincia di Viterbo, orientativamente dal 1505 fino alla fine della sua vita, nel 1524. Dopo gli anni che l’hanno vista essere la giovane moglie di Orsino Orsini, l’influente concubina di papa Alessandro VI Borgia o la chiacchierata sorella del cardinal Alessandro, futuro Paolo III, Giulia è finalmente la signora del suo castello e del vetusto borgo. Risposatasi nel 1509 col nobile napoletano Giovanni Maria Capece Bozzuto, Giulia a Carbognano è libera e padrona del suo tempo, un tempo che torna ad essere quello fantastico e sospeso delle fenici e degli unicorni di cui riempie la sua casa. La fenice è l’uccello della rinascita, l’unicorno rappresenta la purezza. Attraverso loro Giulia dimostra agli illustri ospiti del suo castello che la sua vita è cambiata, che un processo di purificazione sta per compiersi o si è compiuto grazie alle ardenti fiamme del fuoco della fenice, le quali permettono alla donna di essere oramai avvicinata dall’unicorno. Insieme a questi animali da bestiario e a una foresta di simboli, nella quale sfilano ermellini, tartarughe, struzzi e falchi, compaiono nel ciclo anche gli stemmi araldici della sua dinastia (da quello del fondatore Ranuccio a quelli dell’amatissimo fratello Alessandro, fino ai matrimoni più recenti della famiglia), attraverso i quali si mettono in scena la storia e i successi dei membri della propria stirpe, ma anche le attese per futuri e migliori raggiungimenti. Sicura di sé, Giulia lascia nelle decorazioni delle sue stanze un’impronta della sua nuova vita a Carbognano. Il ciclo del castello è un singolare e finora poco studiato caso di committenza, promosso da una donna laica del Rinascimento.