God Sleeps in Rwanda

Acquaro, Kimberlee; Sherman, Stacy

doi:10.1037/e568472010-001

Cited by 3 publications

(1 citation statement)

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“…The latter bird can be connected with other evidence found at Motya, for the quail was sacred to the Phoenician counterpart of Hercules, Melqart. 61 Still, the bird could also be understood as a rooster, typically connected to Asclepius, the god of health and healing. 62 Additionally, it may be relevant that the dedication of a church in the Middle Ages over the ruins of the sanctuary was made to the patron saint of physicians, San Pantaleo.…”

Section: Animals From the Natural Worldmentioning

confidence: 99%

Animals from Motya: Depictions and Archaeological Evidence in the Phoenician Town in Sicily

Oliveri

Toti²

2020

Arts

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This paper focusses on the animal presence in the archaeological records from the Phoenician island town of Motya (Sicily), which grew to prosperity from its settlement in the 8th century until its destruction in 397 bce. Offering a preliminary review of this material, the paper discusses fantastic beasts, animals of the land, sea and air, creatures from Egyptian tradition and the faunal remains. As such, the overview will be more descriptive than analytic. While osteological evidence confirms the presence of domestic animals, such as poultry, pigs and pets, depictions on all sort of artifacts represent sphinxes and griffins, centaurs and sea-monsters, dolphins and every kind of fish, lions, bulls, horses, deer, pigs and dogs, and many kinds of birds from quails to eagles. Egyptian amulets express the great attraction felt towards the mysterious Nile valley. The great variety of animals attested in the iconography, and the various traditions in which they were depicted, are testament to the diversity of the town’s human population as well as their interactions with the wider Mediterranean world.

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Section: Animals From the Natural Worldmentioning

confidence: 99%

Animals from Motya: Depictions and Archaeological Evidence in the Phoenician Town in Sicily

Oliveri

Toti²

2020

Arts

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Alternative African cinemas: a case study of Rwanda

Cieplak

2010

Journal of African Media Studies

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There are various prescriptive and limiting discourses about what African Cinema is or should be. Because of the vastness of the continent and the heterogeneity of the people inhabiting it (as well as those interested in its culture and history), most of these theories and assertions provide little more than general statements and often omit the importance of national and regional particularity. This article examines the emerging film industry in Rwanda as well as the potential challenge it can pose to certain paradigms within discourses surrounding African Cinema. It also looks at different funding and distribution models, including international, collaborative and independent film projects currently underway in Rwanda. Analyses of two films Patrick Mureithi's Icyizere:Hope and Debs Gardner-Paterson's We Are All Rwandans are provided to support the article's argument.

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Strengthening the Response: Viewing Somali Piracy Through a Holistic Lens

2016

Somali Piracy

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God Sleeps in Rwanda

Cited by 3 publications

References 0 publications

Animals from Motya: Depictions and Archaeological Evidence in the Phoenician Town in Sicily

Animals from Motya: Depictions and Archaeological Evidence in the Phoenician Town in Sicily

Alternative African cinemas: a case study of Rwanda

Strengthening the Response: Viewing Somali Piracy Through a Holistic Lens

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