Dragons Research Papers - Academia.edu (original) (raw)

Amen exposes the foundation of all religious myths and conspiracy theories that are based on the existence of a global and Divine Plan for mankind. Amen reveals the truth about the Knights Templar, the Baphomet, Jesus, the Great Mother,... more

- by
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- Conspiracy Theories, Research into Freemasonry, Conspiracy Culture, John Dee

The work deals with the publication of a rare bronze plaque discovered during the archaeological surveys of 2012–2013 in the upper reaches of the Kacha river in SouthWestern Crimea. The item was crafted by means of casting in a rigid die, and represents a four-petal plate with a loop soldered to the lower petal. The front surface features an image of a polymorphic creature – a dragon, and the back surface contains traces of solder with the remains of the bases of pins or stitch loops. It is assumed that the plate is a part of a military belt set of the Golden Horde period. These types of ferrules and plates with a dragon image made of precious metals, as well as bronze, horn and bone, have been found in the territory of the Golden Horde and the neighbouring territories and date back to the period of the 13th – 14th centuries. The stylistics of the mythical animal image on the plate from the vicinity of Verkhorechye accounts for its similarity to the images of dog-headed dragons in the fine art of Russian regions, but the design and construction features of our finding are characteristic of the items discovered in the Volga region.

- by Katerina Lesnaya and +1
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- Toreutics, Dragons, History of the Golden Horde

Monsters of Modernity explores the contemporary human condition through a selection of globally iconic monsters. In each chapter, the authors explore monsters for what they reveal about the world in which we live and for the ways that they enable us to address critical issues facing humanity. Although monsters might be feared and thought of as threatening, the authors show how each monster brings us to a deeper appreciation of various aspects of our troubled world, from gender relations, to the lasting impacts of colonisation, to neoliberalism, to the fragility of humanity’s place in the world in the Anthropocene. Monsters of Modernity explores new ground in the conventions of authorship and scholarship, including through the highly personal and subjective perspectives in each chapter, and even the absence of an Introduction. This book will be a valuable companion to anyone interested in the study of monsters as well as those seeking engaging ways to explore and teach key global issues. Open Access text available at: http://kismet.press/portfolio/monsters-of-modernity/

- by Peter Phipps
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- Teratology, Monster Theory, Monsters and Monster Theory, Vampires

Niniejsza praca ma na celu przedstawienie teorii mitotwórczej J. R. R. Tolkiena, z perspektywy jej wymiaru duchowego. Od czasów antycznych teorie, tudzież filozofie, opierały się na myśleniu abstrakcyjnym i miały za zadanie wyjaśnienie ówczesnemu człowiekowi otaczającej go rzeczywistości. Nie inaczej było z Tolkienowską teorią, na potrzebę której ukuł swój termin Mitopoeia. „Duchowy wymiar Tolkienowskiej Teorii Mitotwórczej” – tłumacząc tytuł tej pracy na język Polski – przekłada się na wiele sfer życia Tolkiena. Pierwsza z tych płaszczyzn, to przypisywany mu przez niektórych krytyków program filozoficzny. Na tym wymiarze skupia się pierwszy rozdział tej pracy: „The Philosophical Disenchantment.” Jednak jak sugeruje tytuł, stanowi on zaledwie tło wszelkich dalszych poszukiwań, gdyż oferuje badaczom Tolkienowskiej myśli jedynie jej racjonalizację i demitologizację. Życiowa pasja Tolkiena, filologia komparatywna, daje wystarczające zrozumienie jego fenomenu, a przynajmniej zdaniem kilku krytyków. Niezaprzeczalnie stanowiła ona inspirację, a zarazem była narzędziem, którego Tolkien użył podług swej ogromnej wiedzy z zakresu językoznawstwa. Pomimo, iż w tej pracy „Comparative Philology” jest omawiana w drugiej kolejności, to właśnie ta dyscyplina była źródłem znajomości filozofii u Tolkiena. Podążając krokami Tolkieniany nie można jednak na tym poprzestać. Trzeci wymiar, jakże metafizyczny i filozoficzny w swych założeniach i implikacjach to odkrycie Owena Barfielda, znajomego Tolkiena. Barfield odkrył Teorię „Jedności Semantycznej,” co Tolkienowi przyszło łatwo przyjąć do wiadomości: język jako narzędzie może również być transcendentny, ze względu na swe początki. Dla Tolkiena była to jedna z tych rzeczy, która pozwoliła mu uwierzyć w smoki. „Philological Philosophy: Let There Be Dragons” – jest zatem łącznikiem między dwoma światami. Jednakże Tolkien nie był byle fantastą, oderwanym od ziemi. Teoria Barfielda, obudziła w nim nadzieję. Pomimo to, tak jak każdy rozsądny i racjonalny człowiek Tolkien musiał dowiedzieć się, „czy to prawda.” Potrzebował czegoś, aby idee odnieść do nie tyle rzeczywistego doświadczenia, ile prawdy. Prawda, bowiem wyzwala. Mimo nieustannego negowania jego wiary, to właśnie ona umożliwiła mu dalsze rozważanie tych teorii. I nie da się inaczej wytłumaczyć jego mitotwórstwa, jak przez uznanie jego wiary. Miłości do Boga, która była tak głęboka, że aż sięgała wiedzy teologicznej. Tego, między innymi, tyczy ostatni rozdział tej pracy: „Myth Becomes Truth.”
Liczba stron: 51

- by Michael Matusiak
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- Creative Writing, Critical Theory, British Literature, Mythology And Folklore

A story about a dragon and a false-hearted cousin, in Mong Leng and English translation.

- by David Strecker
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- Mythology And Folklore, Hmong Studies, Dragons, Hmong-Mien languages

Warum moderne Märchen? Gegen die Wunder der Technik berufen sie das Wunderbare, das nicht machbar ist, gegen die Beschleunigung der modernen Welt berufen sie die Einheit von Kindheit und Alter, gegen ihre Zahlenhaftigkeit die ziellose Sehnsucht, gegen die absolute Trennung von Gut und Böse die Verwandlung der beiden ineinander. Sie lehren, nicht die Augen zu verschließen vor der Unmenschlichkeit der Machbarkeits-Welt wie auch vor dem Gemeinen, das guten Gewissens weitergründelt wie eh und je, während oben die Wogen der Veränderung schlagen, beides aber mit einem Lächeln zu betrachten, das sich einig zu müssen weiß mit der Vergänglichkeit. „Wucherpfennigs Märchen sind satirische Arabesken aus Wehmut und Ironie.“ (Fr. Schlegel)

- by Wolf Wucherpfennig
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- C.S. Lewis, Tolkien, Fantasy, Dragons

Women of Ice and Fire: Gender, Game of Thrones, and Multiple Media Engagements explores women in the transmedia GOT universe, which consists of George R. R. Martin’s book series, the HBO television show, computer games, and online fan activities. Here are eleven chapters by eleven scholars who differ in their views on the Westerosi women. Is this postfeminism for a neo-liberal and post-9/11 age? Is it antifeminist entertainment dressed up in pre-feminist medieval clothes? Or might neither of the two positions in effect be any good for women? Martin has called himself a feminist but others disagree. The contributors differ in their view of the gender politics in GoT. Here are articles on sexual scripts and politics, on adapting desire from book to television, adapting sex and violence from words into televisual sex and violence, on women in computer games, women with dragons, women as head of families, women as mothers and warriors and Machiavellian princes, on neoliberal fuck-politics and, finally, on female fans on the internet. The anthology explores the women of ice and fire with the aim to carve out new roads in the gender terrain of GoT as well as map new territory in women’s engagement with transmedia fantasy entertainment.

- by Rikke Schubart and +1
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- Sexual Violence, Feminism, Postfeminism, Fantasy Fiction
- by John B Carlson
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- Religion, Native American Religions, Comparative Religion, Sociology

A mini-e-zine about the Medieval Dragon.

- by Kristin Bell
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- Art History, Medieval Literature, Medieval History, Medieval Studies

Dragons have always been present in the imaginary of mankind, since ancient myths about the creation of the world. The figure of the dragon is rooted in every culture, be it the evil serpent symbol of the devil typical of Western, Christian culture, or the benevolent creature that is bringer of rain in the Eastern tradition. Perhaps because of their importance in all the cultures of the world, dragons have also played a consequential role in fantasy literature, and indeed since J. R. R. Tolkien’s The Hobbit (1937), this creature has been a recurrent character in many works of the genre.
In this dissertation, the role of the dragon will be analyzed, especially in postwar fantasy fiction. More specifically, it will be shown how this mythical creature passed from being considered no more than a beast to be slain to a real icon of this literary genre. If in the ancient Western narratives, indeed, the dragon was regarded as a representation of chaos to be annihilated by a god or hero in order to restore a social balance previously subverted (Lionarons 1998), nowadays it is not necessarily seen as an enemy, but also as an advisor, an ally or even an inseparable companion for the main character of a novel.
We will focus mainly on some literary works that can serve as examples of such a transition, but we shall start by briefly analyzing the literary dragons in Beowulf and The Saga of the Volsungs, for they contributed enormously in shaping Tolkien’s Smaug: a dragon that, in turn, would have a great influence on all subsequent fantasies. Then we shall examine the role of dragons in Ursula Le Guin’s Earthsea sequence (1968-2001), noting how in her later novels they become protectors of order and no more agents of chaos. We will continue by examining the bond between dragons and their riders in Anne McCaffrey’s The Dragonriders of Pern series (1967-2012), the dragons depicted in Terry Pratchett’s Discworld series (1983-2015) – seen as imaginary beasts that can acquire shape and substance only if we truly believe in them – and finally their role in George R. R. Martin’s A Song of Ice and Fire (1996 ff.).
During our survey, we will compare the role of dragons to that of other fantasy creatures who underwent a similar evolution in the same period, such as the werewolf and the vampire, and we shall notice how all these literary monsters are nothing but different projections of our selves (Du Coudray 2006, Browning and Picart 2009). In conclusion, we shall see how in contemporary fantasy dragons can play at least five different roles: ‘the evil enemy to be slain or subjugated’; ‘the wise warden of order’; ‘the shapeshifter’; ‘the inseparable ally and life-long friend’; and finally ‘the wild but tameable beast’.
We shall focus mainly on literary works, but we will also make some references to other media, such as the main representations of dragon in cinema and role-playing games (RPGs).

- by Emanuele Marostica
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- Fantasy (Film Studies), J. R. R. Tolkien, Fantasy Literature, Beowulf
- by Maria I Velazquez
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- Religion, Popular Culture, Spirituality, Audience and Reception Studies

FAERIE, FAE AND OTHERKIN TRIBES: The Silver Elves’ Guide for Finding Your Magical Kind and Kin by The Silver Elves is dedicated to tribes of the faeries, fae that are faerie blends, otherkin, otherworldlies, and miscellaneous assorted fae, but we have also created a companion book that has the elven tribes in it. So if you are of elven kind, you may wish to also check out ELF TRIBES: The Silver Elves’ Guide for Finding Your Magical Kind, Kin and Tribe.
In these modern times we now abide, it is most important that the faerie, fae and otherkin have a strong magical narrative of their own in a world that often likes to tell us who we are and who we are not, and mostly quite inaccurately so. It is our hope that in reading the over 150 magical narratives contained in Faerie, Fae and Otherkin Tribes that you will be inspired, our kindred brothers and sisters, to begin if you have not already done so to create your own narrative or add to what you already remember and intuit.

“Holy Monsters, Sacred Grotesques” aims to create conversations on the impact of monstrosity and examples of the grotesque in discourse related to religion and the sacred. The tendency to populate religious landscapes with non-human entities, literally demonize opponents, perceive monsters as existing in far-reaching geographical borders (e.g., “the East” in Medieval Europe), and decorate sacred sites with grotesques is a trait shared throughout innumerable traditions. Recently the term "monster studies" was coined to cover the recent works dedicated to monsters by such authors as John Block Friedman, Jeffrey Jerome Cohen, and Asa Mittman, who have helped to provide a framework for the study of such phenomena, not only in religious studies but also in literature, art history, and history. Through this framework, monsters and grotesques have been revealed as important markers of marginality, social boundaries, liminality, identity, cultural borders, and the “Other.”

- by Michael E Heyes
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- Medieval History, Disability Studies, Medieval Studies, The Grotesque Body

Key words։ Christ, dragon, God of Thunder, miniature, sculpture, myth. Our research presents mystic meaning of some effigies and characters, which were found in the Armenian art, demonstrating sources of their origin and distribution... more

- by Tigran Grigoryan
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- Mythology, Art History, Armenian Studies, Oriental Studies

The definitive anthology of historical legends and lore about the most popular mythological creature in world literature, from the ancient world to the dawn of modernity. From classical antiquity to the dawn of the modern age, dragons have proved to be the most popular mythological creature in the human imagination, featuring prominently in heroic literature around the world. Giant serpents guarding forbidden springs, venomous monsters ravenous for human flesh, fire-breathing wyrms slumbering atop great mounds of gold—the examples are fearsome and unfailingly fascinating. Ranging from ancient Greece and India to medieval Europe and China to the badlands of modern America, The Penguin Book of Dragons uncovers hidden traditions about dragons from around the world and explores the meaning of these monsters in religious myths and popular folklore, the perils of encounters with them, and the virtues of the heroes who vanquished them.

- by Scott G. Bruce
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- Medieval History, Medieval Studies, Dragons

The Drachenfels (Dragon's Rock) in the Siebengebirge uplands between Königswinter and Bad Honnef in Germany. The hill is located in the North Rhine-Westphalia area.
History
The ruined castle Burg Drachenfels, on the summit of the hill, was built between 1138 and 1167 by Archbishop Arnold I of Cologne and bears the same name. It was originally intended for the protection of the Cologne region from any assault from the south. Originally it consisted of a bergfried with court, chapel and living quarters for servants. The castle was slighted in 1634, during the Thirty Years' War, by the Protestant Swedes and never rebuilt. As a strategic asset it had outlived its usefulness.
The rock, like the rest of the Siebengebirge, has been the site of a trachyte quarry since Roman times, which, amongst others, delivered the building material for the Cologne Cathedral. Of all the hills in the Siebengebirge, it is closest to the river Rhine, which facilitates easy transport by barges, thus making it an excellent place for a quarry. Quarrying ended in 1836, when the Prussian government bought the quarry. In 1922 the first protection measures were put in place and in 1956 the site was declared a national park.
Legends
Several legends surround the Drachenfels, most famously that Siegfried – the hero of the Nibelungenlied – killed the dragon Fafnir, who lived in a cave in the hill, then bathed in its blood to become invulnerable. Hence, the hill is named the "Dragon's Rock", Drachenfels.
About a third of the way up is the Nibelungenhalle, built in 1913, a gallery of paintings by the symbolist painter Hermann Hendrich depicting scenes from Richard Wagner's operas.
Another legend tells of prisoners being sacrificed to a dragon. One of these was a Christian virgin, who, in her fear, held up a little cross. In fear of this holy symbol, the dragon jumped into the Rhine and was never heard from again.
A third, less pious, story has it the dragon one day attacked a boat laden with gunpowder, causing an explosion which destroyed the ship and killed the dragon.
Siegfried is a legendary hero of Germanic heroic legend, who killed a dragon and was later murdered. It is possible he was inspired by one or more figures from the Frankish Merovingian dynasty, with Sigebert I being the most popular contender. Older scholarship sometimes connected him with Arminius, victor of the Battle of the Teutoburg Forest.
Sigurd's story is first attested on a series of carvings, including runestones from Sweden and stone crosses from the British Isles, dating from the eleventh century.
In both the Norse and continental Germanic tradition, Sigurd is portrayed as dying as the result of a quarrel between his wife (Gudrun/Kriemhild) and another woman, Brunhild, whom he has tricked into marrying the Burgundian king Gunnar/Gunther. His slaying of a dragon and possession of the hoard of the Nibelungen is also common to both traditions. In other respects, however, the two traditions appear to diverge. The most important works to feature Sigurd are the Nibelungenlied, the Völsunga saga, and the Poetic Edda. He also appears in numerous other works from both Germany and Scandinavia, including a series of medieval and early modern Scandinavian ballads.

- by David Vanderper
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- Mythology And Folklore, German Literature, Mythology, German History

The First World War scarred human history. On the bloody battlefields of France, a generation of soldiers died. Those that survived rose from the ashes as new men, transformed by witnessing the hatred of nationalism and the horror of men slaughtered by machines. It was this war, one of the worst in human history, which J. R. R. Tolkien witnessed firsthand. It forever shaped his view of life and death, of man and technology.
To understand the influence that this war, and in particular this battle, had on Tolkien, we must examine the historical account of the war itself. To that end, this chapter offers a cursory history of World War I, in particular the Battle of the Somme in 1916, at which Tolkien fought, contracted “trench fever,” and lost two dear friends. Tolkien’s life in the context of the war is also examined.

- by Matthew B . Rose
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- J. R. R. Tolkien, World War I, The Inklings, Dragons

A text in the White Hmong dialect of Hmong, recorded in Laos circa 1970.

- by David Strecker
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- Mythology And Folklore, Hmong Studies, Dragons, Hmong-Mien languages

Chimère est emblématique des créatures hybrides : véritable assemblage de trois animaux réels, « lion par devant, dragon par derrière et chèvre par le milieu» pour reprendre la description d’Hésiode dans sa Théogonie, elle est un hapax, il n’y a qu’une seule Chimère qui a une histoire particulière et c’est donc de cette créature spécifiquement dont il sera question dans cette étude.

- by Aloysia Moretti
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- Hybridity, Monster Theory, Hybridization, Monsters and Monster Theory

In this article an inclusive definition has been given to the term ‘dragon’, which covers two and four-footed dragons, and dragons without feet such
as serpents and snakes, many-headed hydra, and kylins. Where possible, the words for ‘dragon’ in ancient and modern local languages are given. This approach is based on the late Professor Sir Harold Bailey’s self-evident principle that if there is a word for ‘dragon’, then the idea or object must have existed.

- by Robert D Miller II
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- Mythology, Missiology, Missiology and Mission Theology, Book of Psalms

Published in Renate Bauer and Ulrike Krischke (eds.). 2011. Fact and Fiction: From the Middle Ages to Modern Times. Essays Presented to Hans Sauer on the Occasion of his 65th Birthday. (Texte und Untersuchungen zur Englischen Philologie... more

- by Thomas Honegger
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- Film Studies, Dragons, Dragon, Monty Python
- by Norbert Spehner
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- C.S. Lewis, Tolkien, Fantasy, Dragons

רישומי קרבות פרש הנלחם בדרקון, כפי הנראה היו רישומי הכנה לציור המורכב הערצת המאגים. יחד עם כתבי ליאונרדו והבנת התרבות בו הוא חי אני מפרשת את המשמעות הסמלית של פרש למול דרקון. אלו מעניקים לי מפתח לצופן החבוי בציור הלא גמור "הערצת המאגים" החושף דיון עמוק בנושא הידע, כפי שליאונרדו ראה נושא זה, בוחנים את העולם האנושי כמצייט לחוקי הפיסיקה וחושפים ביקורת חברתית של ליאונרדו.

- by Sharon Khalifa Gueta
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- Leonardo da Vinci, Medusa, Dragons

Presents the origins of Dragons, their widespread appearance, the possibility of their real existence, Middle Eastern Dragons, Western Dragons, Greek Dragons, Chinese Dragons, and other Dragon-like Creatures.

- by Glyn Hnutu-healh
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- Dinosaurs, Draco, PTEROSAURIA, Pterosaurs

Even a text in White Hmong can teach us something new.

- by David Strecker
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- Mythology And Folklore, Hmong Studies, Dragons, Hmong-Mien languages

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.

- by Dickran Kouymjian
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- Art History, Armenian Studies, Textiles, History of Textiles

Ursula K. Le Guin’s Earthsea series enters an ongoing dialogue about the nature of language; in it, she proposes a language spoken by dragons and wizards, “the Old Speech,” a language fundamentally unlike our human languages. It is a language in which it is impossible to lie, a language which is simultaneously descriptive and generative: to say the name of a thing is to have the thing come to be. This Old Speech is what the ancient poetic unity of language—to use Owen Barfield’s terms—might look like: a language in which the Tao, the underlying reality of a thing, is named in every word, a language in which every word is a narrative and true. However, dragons, not the titular, and ostensibly central, wizards, are the true poets of Earthsea; the dragons are the ones who see with a poet’s eye and who are actually capable of wielding the Old Speech in its ancient, unified, fully poetic sense, a sense which encompasses all shades of meaning and existence and narrative in one word. Le Guin’s Old Speech, then, can best be understood as a true language of Barfieldian ancient unity, and the dragons are not liars but poets practicing their art.

- by Maximilian Hart
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- Languages and Linguistics, Magic, J. R. R. Tolkien, Ursula K. Le Guin

Film International 16.4 (2018): 85-88. Print.

- by Tom Ue, FRHistS
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- Russian Studies, Film Studies, Russian, Film Analysis

This paper investigates the occurrence of the draco marinus in medieval and post-medieval texts, illustrations and maps, and discusses the question of why or why not, respectively, the sea-dragon constitutes an independent sub-category of draco. The evidence suggests that the dragon is a creature that inhabits the different elements so that the distinction into draco maris, draco terrestris and, theoretically, draco aeris, merely reflects a temporary feature and does not necessarily constitute a subdivision of classificatory relevance. As a consequence, the sea-dragon constitutes an optional category that is at the scholar’s, author’s or artist’s disposal if needed.

- by Thomas Honegger
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- Animals in Culture, Dragons

Eight stories about dragons in Hmong and in English translation.

- by David Strecker
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- Mythology And Folklore, Hmong Studies, Dragons, Hmong-Mien languages

Published in Fanfan Chen and Thomas Honegger (eds.). 2009. Good Dragons are Rare. An Inquiry into Literary Dragons East and West. (ALPH 5). Frankfurt a.M.: Peter Lang, 27-59.
Summary: Prof. Tolkien noted: ‘There are in any case many heroes but very few good dragons.’ (Monsters 17) Modern readers may wonder what he meant by ‘good dragons’ – certainly not virtuous or ‘morally good’ dragons, which are, basically, a modern invention. As Tolkien himself points out, a ‘good dragon’ is a beast that displays the typical characteristics of draco without becoming a mere (allegorical) representa¬tive of draconitas (i.e. the vice of avarice). Yet ‘death by allegory’ is not the only danger literary dragons have to face. My paper looks at the symbolic and narrative functions of dragons in Germanic literature throughout the ages. As will be shown, most dragons before (but also after) Tolkien do not live up to their full literary potential as protagonist, but remain either allegorical figures of evil, devices for testing the hero’s qualities, steeds, or Disney-pets. It is only such dragons as Smaug in The Hobbit or Chrysophylax Dives in Farmer Giles of Ham who live up to Tolkien’s idea of what a ‘good dragon’ should be: a dangerous protagonist in its own right partaking in the rich symbolism of the different traditions without being reduced to these ‘symbolic’ functions only.

- by Thomas Honegger
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- J. R. R. Tolkien, The Hobbit, Dragons, Dragon

- by Richard Sutcliffe
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- Teratology, Monster Theory, Monsters and Monster Theory, Vampires

In this chapter I examine the nature of Daenerys’ appeal and see it as related to the emotion of pride. I look at her in George R.R. Martin’s book A Game of Thrones (1996) and in Season One of Game of Thrones and briefly cast a glance at later seasons. I examine her first as a fantasy hero playing with the rules of fantasy; second, as embodying the emotion of pride; and, third, as invested with magic. I draw on cognitive media theory and postfeminism.
This is chapter 5 of Women of Ice and Fire: Gender, Game of Thrones and Multiple Media Engagements (NY: Bloomsbury, 7 april, 2016), eds. Rikke Schubart and Anne Gjelsvik

- by Rikke Schubart
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- Feminist Theory, Fantasy (Film Studies), Emotion Studies, Dragons
- by Robert D Miller II
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- Hittite Religion, Rigveda, Ullikummi und Vrtra, Shahnameh

On this paper , I've introduced the Great Wall of China in a new perspective. Myth,History,Anthropology, Religion,Science are combined here to explain our future destination ..... the next world order.

- by Rumana Reza
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- Dinosaurs, Aliens, Dragons, The Great Wall

On an imprint 'serpopards' represent Anu, the god of heaven, and his spouse Antu

- by Tom van Bakel
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- Near Eastern Archaeology, History of Cyprus, Ancient Near East, Sumerian
- by Sugiri Kustedja
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- Architecture, Chinese Studies, Indonesian Studies, Vernacular Architecture

Il drago è un animale favoloso che si incontra come figura simbolica universale tanto nelle culture orientali, amerinde, quanto in quelle classiche ed europee. Un esame morfologico di questa creatura leggendaria ci autorizza a vedere in essa elementi di animali conosciuti dall’uomo, sebbene non comuni e pericolosi: serpenti, leoni, coccodrilli e persino esseri preistorici. Krappe ne La Genèse des Mythes ritiene che nella genesi dell’idea mitica del drago sia intervenuto il timore di scoprire resti di mostri antidiluviani. La biscia, ovvero la "bissa" nelle lingue lombarde, deve il suo nome da "serpe" e/o "serpente", parola considerata tabù linguistico, a "bistia", ovvero bestia.

- by Matteo Colaone
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- Heraldry, Heraldry and Vexillology, Lombardia, Dragons

An example of Hmong narrative art.

- by David Strecker
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- Mythology And Folklore, Hmong Studies, Dragons

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.

- by Dickran Kouymjian
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- History, Cultural History, Art History, Medieval History
- by Katarzyna Kleczkowska
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- Religion, Comparative Religion, Mythology And Folklore, Cultural Studies
- by Anna Antonini and +1
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- History of Science, Dinosaurs, Iconography and Iconology, Athanasius Kircher