Beatrice Daskas
Biographic Data
| ID | 4992417 |
|---|---|
| NAME | Beatrice Daskas |
| GIVEN NAMES | Beatrice |
| FAMILY NAME | Daskas |
| SIGNATURE | DASKAS B |
| AFFILIATIONS | Ludwig-Maximilians-Universität München |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Introduction
The collection of essays presented in this issue of Word & Image stems from an international colloquium held at Ca’ Foscari University in Venice (Italy), 16 May 2019,1 and addresses the semantics
Competing ‘iconographies’
Besides their undoubted aesthetic value, monuments possess an ideological function. They are meaningful forms built to commemorate significant deeds or events or to celebrate individuals who are prominent within a community. Monuments become essential for the articulation of cultural identity and memory, through which political powers and intellectual élites seek legitimation and support. As historical objects operating in fluid and transformativ…
Picture and text
The present contribution engages with two representative examples of middle-Byzantine ekphraseis, Photios’ description of the Virgin of the Pharos and Leo VI’s account of the church founded by Stylianos Zautzes. It aims at showing how these texts suggest modes of viewing the sacred space and decoration that pose, more than settle, questions about images and pictures, their intended function, significance and impact within their specific cultural …
Tafelanhang
A literary self-portrait of Nikolaos Mesarites
This contribution is based on a new interpretation of the well-known passage found in the Description of the church of the Holy Apostles at Constantinople by Nikolaos Mesarites (XXVIII, 63.18–64.3 Heisenberg = 910b.[23] Downey), normally dated to the late twelfth century. It provides a reappraisal of the question regarding the Byzantine painter Eulalios and his alleged self-portrait in one of the scenes of the monument's decorative cycle
In memoriam Gianfranco Fiaccadori (1957–2015)
Obituary
A literary self-portrait of Nikolaos Mesarites
This contribution is based on a new interpretation of the well-known passage found in the Description of the church of the Holy Apostles at Constantinople by Nikolaos Mesarites (XXVIII, 63.18–64.3 Heisenberg = 910b.[23] Downey), normally dated to the late twelfth century. It provides a reappraisal of the question regarding the Byzantine painter Eulalios and his alleged self-portrait in one of the scenes of the monument's decorative cycle
A literary self-portrait of Nikolaos Mesarites
This contribution is based on a new interpretation of the well-known passage found in the Description of the church of the Holy Apostles at Constantinople by Nikolaos Mesarites (XXVIII, 63.18–64.3 Heisenberg = 910b.[23] Downey), normally dated to the late twelfth century. It provides a reappraisal of the question regarding the Byzantine painter Eulalios and his alleged self-portrait in one of the scenes of the monument's decorative cycle
In memoriam Gianfranco Fiaccadori (1957–2015)
Obituary
Picture and text
The present contribution engages with two representative examples of middle-Byzantine ekphraseis, Photios’ description of the Virgin of the Pharos and Leo VI’s account of the church founded by Stylianos Zautzes. It aims at showing how these texts suggest modes of viewing the sacred space and decoration that pose, more than settle, questions about images and pictures, their intended function, significance and impact within their specific cultural …
Tafelanhang
Introduction
The collection of essays presented in this issue of Word & Image stems from an international colloquium held at Ca’ Foscari University in Venice (Italy), 16 May 2019,1 and addresses the semantics
Competing ‘iconographies’
Besides their undoubted aesthetic value, monuments possess an ideological function. They are meaningful forms built to commemorate significant deeds or events or to celebrate individuals who are prominent within a community. Monuments become essential for the articulation of cultural identity and memory, through which political powers and intellectual élites seek legitimation and support. As historical objects operating in fluid and transformativ…
Art (5 works) · Literature (4 works) · Byzantine Studies and History (3 works) · Historical and Religious Studies of Rome (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Byzantine architecture (2 works) · Classics (2 works) · History (2 works) · Linguistics (2 works)