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Hvilken rolle spiller huset og hytten i idylliske fortællinger?
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An archaic dedication from Samos known as the Geneleos Group is considered by scholars to be one of the first family dedications in Greek art, or, to be more precise, the first archaeological record showing an elite family in form of life size round sculpture in a sanctuary. Furthermore, it is one of very few archaic sculptures attributable to a certain artist: Geneleos. It is generally assumed that the persons shown are part of a family extending over two generations with the iconography highlighting the different social role models of its members: mother, father, son, and daughters. In this paper, I will try to question this common reading by proposing alternatives, triggered by the ambiguous iconography of the figures and by the placement of the inscriptions related to them.
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Only a few Roman sea villas along the coast of Campania are still well preserved today. In many cases they have been built over in modern times or have fallen victim to thethe destructive force of wind and waves. One exception is the Roman villa at the cape of Sorrento, also known to locals and tourists as Bagno della Regina Giovanna.
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In this paper, I investigate whether the marginality of neuter s-stem in Hittite is due to loss or to an early split-off of Anatolian.
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Hvilken rolle spiller huset og hytten i idylliske fortællinger?
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An archaic dedication from Samos known as the Geneleos Group is considered by scholars to be one of the first family dedications in Greek art, or, to be more precise, the first archaeological record showing an elite family in form of life size round sculpture in a sanctuary. Furthermore, it is one of very few archaic sculptures attributable to a certain artist: Geneleos. It is generally assumed that the persons shown are part of a family extending over two generations with the iconography highlighting the different social role models of its members: mother, father, son, and daughters. In this paper, I will try to question this common reading by proposing alternatives, triggered by the ambiguous iconography of the figures and by the placement of the inscriptions related to them.
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