![]() ![]() Do not use an Oxford Academic personal account. When on the society site, please use the credentials provided by that society.If you see ‘Sign in through society site’ in the sign in pane within a journal: Many societies offer single sign-on between the society website and Oxford Academic. Society member access to a journal is achieved in one of the following ways: If you cannot sign in, please contact your librarian. If your institution is not listed or you cannot sign in to your institution’s website, please contact your librarian or administrator.Įnter your library card number to sign in. Following successful sign in, you will be returned to Oxford Academic.When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. The marriage motif dominates, but does not completely subordinate, the notions of death and resurrection at initiation. That being said, ritual texts and homilies from the fourth century begin to show metaphorical interference between imagery of weddings and funerals, and so polysemic interpretations of this procession are certainly warranted. In addition, the motif of spiritual marriage at initiation in a “bridal chamber” was very prominent in proximate textual traditions. The closest artistic comparanda from Syria render a biblical wedding procession-that of Jesus’ Parable of the Wise and Foolish Virgins-with the same iconography as the figures on Dura’s walls. When biblical, artistic, and ritual sources are read with this in mind, the singular importance of marriage motifs in early Syrian Christianity becomes clear. While the traditional interpretation of them as the women at the tomb of Christ on Easter morning has arguments to support it, the preponderance of evidence supports our recovering an old counter-proposal, which identifies them as virgins at a wedding. This chapter surveys and challenges the usual identification and interpretation of these female figures. The eastern and northern walls of the baptistery feature the main artistic program, which is a procession of women.
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