Results 111 to 120 of about 2,849 (153)
Die manipulative Macht der Übersetzung: Die Auseinandersetzung zwischen Patriarch Michael Kerullarius und Kardinal Humbert von 1054 im Spiegel der bewussten Inhaltsverfälschung [PDF]
, 2014 Gastgeber, Christian
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“Εντεύξεις” and the “political” party: gatherings, friendships and social profiles in the 11th-12th century Byzantium” [PDF]
, 2013 Ragia, Efi
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The Image of Byzantium in Twelft h-Century French Fiction: a Historical Perspective [PDF]
, 2015 Černáková, Zuzana
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The 12th-century physical landscape and climate of Bulgaria: The case of Gregorios Antiochos [PDF]
, 2012 Mavrommati, Kalliopi N.
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Die Kunst und ihr erzieherischer Wert bei den Drei Hierarchen (Basileios dem Großen, Gregor von Nazianz und Johannes Chrysostomos) [PDF]
, 1979 Nikolaou, Theodor
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The Mysterious Seal of Alexios Komnenos from Tamatarcha [PDF]
SSRN Electronic Journal, 2014 This research concerns the unique seal of a Byzantine aristocrat named Alexios Komnenos found in Tamatarcha (modern Taman’), which has only one parallel from Trebizond. The authors explain the meaning of images on the seal (the resurrection on its obverse and St George leading a warrior by the hand on its reverse) as an ideological program of the ...
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2023
Abstract John II Komnenos was born into an empire on the brink of destruction, with his father Alexios barely preserving it in the face of civil wars and invasions. A hostage to crusaders as a child, married to a Hungarian princess to win his father an alliance as a teenager, and leading his own campaigns as his father died, it was left ...
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Abstract John II Komnenos was born into an empire on the brink of destruction, with his father Alexios barely preserving it in the face of civil wars and invasions. A hostage to crusaders as a child, married to a Hungarian princess to win his father an alliance as a teenager, and leading his own campaigns as his father died, it was left ...
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Alexios Angelos Komnenos, a Patron without History?
Gesta, 1996This article focuses on the superb quality of the painted cycle of the twelfth-century Byzantine church of St. Panteleimon at Nerezi. Rather than extolling the high quality as an end in itself, however, the article uses the cycle's excellence as a way of gaining access to the figure of the donor, a distinguished but historically almost wholly unknown ...
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