Final Draft - Preview Matter - Florida State University

More documents

Recommendations

Info

who appears in myth as a man transformed into a woodpecker by the witch, Circe. He ascends to immortality and becomes a rustic deity who accompanies Faunus in some stories. The significance of this god to the people known as the Picentes has been used to suggest that early Italians practiced totemism, and this idea is examined in Chapter Six. There are several examples of a winged figure shown wearing a swan-headed cap. The identity of this figure is unknown even though several possible identifications have been suggested. Yet another example of a bird god with an uncertain identification is the bird-headed figure that decorates an antefix from the sanctuary at Pyrgi; this object is discussed in terms of its possible connections to Greek and Near Eastern mythology. This chapter also returns to the Etruscan conception of the Underworld in order to examine the demon Tuchulcha and an unnamed demon that possesses the head of a bird of prey. The title of this dissertation embraces a somewhat broad scope by necessity. As mentioned earlier, a wide variety of divine figures is included in this study. These figures are not always easily classifiable, and thus I have settled on the term “demon” as a descriptor for those whose do not receive cult. This term is not meant in a pejorative sense, as it may be used today, but is instead closer to the idea of a daemon or, perhaps, a genie. The last note I would like to add concerns the contents of each chapter. While theriomorphic and therianthropic divinities each share similar characteristics, the amount and type of evidence that preserves the memory of these figures is quite varied. Thus each chapter’s length and content are somewhat different. Ultimately, I hope to prove that we can no longer gloss over the importance of theriomorphic and therianthropic imagery in Etruscan and Roman religion. Each of the deities and demons discussed in this chapter held an important place in the religion and/or myth of the Etruscans and Romans. They were not minor figures or simple curiosities for modern scholars to puzzle over. It is my intention that this study add another layer to our understanding of Etruscan and Roman culture by examining what I believe to be some of the most interesting archaeological and literary remains they have left behind for us. 27
CHAPTER 2: THE SERPENT The serpent has always stood for two diametrically opposed ideas, namely as the foe of mankind and the symbol of evil on the one hand, and as man’s protector and saviour in disease and distress on the other. 100 Serpent imagery is common in the myths and folk tales of cultures around the world. Apep, the great night-serpent, harried the solar god Ra during his journey through the underworld from the sun’s setting in the west to its rising in the east. 101 The Norsemen believed that the god Thor would one day die in battle with the world-serpent Jormungand. 102 The Greek god Apollo acquired his most famous and prestigious oracle, Delphi, by slaying the great Python who originally inhabited the site. The Babylonian god Marduk was forced to fight the primeval goddess, Tiamat, who could take the form of a serpent, in order to re-establish order in the universe. 103 Thus, the serpent, often in monstrous and/or draconic form, played the roles of the “other” and enemy to both gods and heroes. In a classical context, this seems to be the role of the serpent in mythic narrative, but the cultic associations of this animal were not solely negative. In fact, snakes were more often healers or benevolent guardians of hearth and home 104 and represented the procreative power of man and the gods. Rumors of gods taking the form of serpents in order to impregnate women were associated with Augustus’ mother, Atia, 105 and Alexander the Great’s mother, Olympias. 106 Thus, a wide array of meanings is attached to the symbol of the serpent. I shall begin with hybrids associated with the more fearsome aspects of snakes before moving to benevolent serpent deities that offered boons to mankind. The most prominent classical expression of ophidian imagery as a danger to the order of the cosmos can be found in 100 Schouten 1967, 1. 101 Spence 1990, 131. 102 Sturluson 1954, 88. 103 Dalley 2000, 251-3. 104 Bevan (1986, 261) states that the snake served as a guardian for both mortal and divine property. This assertion is born out by the roles of the deities discussed in this chapter. 105 Suet. Aug. 94. In this passage, Suetonius records the story that Atia conceived Augustus by Apollo disguised in serpent form. 106 Plut. Vit. Alex. II.9. Plutarch records that Philip found Olympias in bed with a snake after participating in the rites of Sabazius and that this incident may have alienated Philip from her company. See also Turcan 1999, 291. 28
Page 1 and 2: THE FLORIDA STATE UNIVERSITY COLLEG
Page 3 and 4: This work is dedicated to my loving
Page 5 and 6: TABLE OF CONTENTS List of Figures v
Page 7 and 8: Fig. II.8. Rear Wall of the Tomb of
Page 9 and 10: Fig. III.13. Etruscan Bronze Ash Ur
Page 11 and 12: Fig. V.7. Etruscan Bronze Mirror De
Page 13 and 14: ABSTRACT This dissertation is an in
Page 15 and 16: physiognomy was discovered at Hohle
Page 17 and 18: or for the death of someone else, w
Page 19 and 20: left with an incomplete appraisal o
Page 21 and 22: presentation of the Battle of Actiu
Page 23 and 24: are more distinct mirrors by the na
Page 25 and 26: its prerogatives and its essence ar
Page 27 and 28: Given the importance of the cult of
Page 29 and 30: In general, theriomorphic and theri
Page 31 and 32: paradoxical, as the loss of a valua
Page 33 and 34: metaphor that could be used by man
Page 35 and 36: students of comparative religion in
Page 37 and 38: there is not a wealth of literary n
Page 39: Faunus and Silvanus are also associ
Page 43 and 44: Corinthian vase painting.) In this
Page 45 and 46: used as decorative support elements
Page 47 and 48: Phersipnai, but these heads are bad
Page 49 and 50: creature of the earth, and even his
Page 51 and 52: of Aesculapius’ birth, a goat nur
Page 53 and 54: II.11). On this medallion, a person
Page 55 and 56: serpent chooses both the time and p
Page 57 and 58: household divinities such as the Pe
Page 59 and 60: Vergil’s statement that Aeneas wa
Page 61 and 62: CHAPTER 3: THE WOLF AND CANINES Dow
Page 63 and 64: P. Defosse proposes that the connec
Page 65 and 66: are not alone on this vessel, and o
Page 67 and 68: y reference to his barking, 253 and
Page 69 and 70: Finally seizing the moment, Arruns
Page 71 and 72: the shape of a man, from that of a
Page 73 and 74: passage, 280 which would accord wit
Page 75 and 76: history of the Lupercalia and the w
Page 77 and 78: Period in Rome as can be seen in ar
Page 79 and 80: Pan or Faunus, 327 but Inuus seems
Page 81 and 82: had been devastated at the time whe
Page 83 and 84: Ovid takes place at a water source
Page 85 and 86: figure has been identified as a wol
Page 87 and 88: suggestion is plausible, but due to
Page 89 and 90: narrative and alternative iconograp
Page 91 and 92:
eproduction of animals. 376 These a
Page 93 and 94:
Mars in line nine. Similarly, Turca
Page 95 and 96:
anch, 397 objects that likely stres
Page 97 and 98:
appear as Juno Sospita, clad in a g
Page 99 and 100:
Lanuvium, and indeed there is one l
Page 101 and 102:
SISPITE and demonstrates the variat
Page 103 and 104:
that it may be Greek. 433 Gordon st
Page 105 and 106:
the etymology of her name indicates
Page 107 and 108:
of Faunus in poetry and art, which
Page 109 and 110:
probably derives from Sumerian mode
Page 111 and 112:
A bull therianthrope identified as
Page 113 and 114:
efers to the bull-headed man as Dio
Page 115 and 116:
ecent discussion of the perception
Page 117 and 118:
The rites of Bacchic cult practice
Page 119 and 120:
was likely difficult even for the a
Page 121 and 122:
Layed me out in the deep sand. That
Page 123 and 124:
Perhaps we are meant to interpret t
Page 125 and 126:
CHAPTER 6: AVIANS Gods and birds sh
Page 127 and 128:
for the Romans, and it may be that
Page 129 and 130:
When we speak of totemism we actual
Page 131 and 132:
One curious example of an avian the
Page 133 and 134:
votive 592 (Fig. VI.7) and decorati
Page 135 and 136:
hyta. 611 On the other hand, the sw
Page 137 and 138:
of a lost Apulian drinking cup form
Page 139 and 140:
labeled, These, the Etruscan Theseu
Page 141 and 142:
image was also used as an indicator
Page 143 and 144:
The imagery used to represent hybri
Page 145 and 146:
god or goddess or the popularity of
Page 147 and 148:
Fig. I.2. Roman Fresco Depicting a
Page 149 and 150:
Fig. II.2. Sculpture of the so-call
Page 151 and 152:
Fig. II.4. Etruscan Black Figure Hy
Page 153 and 154:
Fig. II.6. Detail of an Etruscan Fr
Page 155 and 156:
Fig. II.8. Rear Wall of the Tomb of
Page 157 and 158:
Fig. II.10. Roman Marble Statue of
Page 159 and 160:
Fig. II.12. Detail of a Roman Marbl
Page 161 and 162:
Fig. II.14. Drawing of a Roman Fres
Page 163 and 164:
Fig. III.2. Reconstruction of an Et
Page 165 and 166:
Fig. III.4. Detail of an Etruscan P
Page 167 and 168:
Fig. III.6. Etruscan Bucchero Oinoc
Page 169 and 170:
Fig. III.8. Etruscan Painted Terrac
Page 171 and 172:
Fig. III.10. Line Drawing of an Etr
Page 173 and 174:
Fig. III.12. Etruscan Terracotta Ci
Page 175 and 176:
Fig. III.14. Pontic Plate by the Ti
Page 177 and 178:
Fig. III.16. Etruscan Bronze Statue
Page 179 and 180:
Fig. IV.2. Roman Bronze Statuette o
Page 181 and 182:
Fig. IV.4. Latin Painted Terracotta
Page 183 and 184:
Fig. IV.6. Etruscan Bronze Mirror C
Page 185 and 186:
Fig. IV.8. Imperial Roman Bronze Co
Page 187 and 188:
Fig. IV.10. Etruscan Bronze Statuet
Page 189 and 190:
Fig. V.1. Etruscan Engraved Bronze
Page 191 and 192:
Fig. V.3. Etruscan Red-Figure Plate
Page 193 and 194:
Fig. V.5. Roman Terracotta Revetmen
Page 195 and 196:
Fig. V.7. Etruscan Bronze Mirror De
Page 197 and 198:
Fig. V.9. Etruscan Gold Pendant Rep
Page 199 and 200:
Fig. V.11. Etruscan Bucchero Oinoch
Page 201 and 202:
Fig. VI.2. Line Drawing of an Engra
Page 203 and 204:
Fig. VI.4. Terracotta Antefix from
Page 205 and 206:
Fig. VI.6. Monumental Stone Relief
Page 207 and 208:
Fig. VI.8. Etruscan Bronze Statuett
Page 209 and 210:
Fig. VI.10. Line Drawing of the Ton
Page 211 and 212:
Fig. VI.12. Water Color Rendition o
Page 213 and 214:
Serv. Ad. Aen. VII, 761. 37 Val. Ma
Page 215 and 216:
Bare, C.P. 2001. “The Iconography
Page 217 and 218:
Buxton, R. 1994. “The Wolf and We
Page 219 and 220:
_____. 2000b. “Mirrors and Mantei
Page 221 and 222:
Felton, D. 1999. Haunted Greece and
Page 223 and 224:
Harrington, F.H. and C.S. Asa. 2003
Page 225 and 226:
Kirk, G.S. 1970. Myth: Its Meaning
Page 227 and 228:
Mannhardt, W. 1884. Mythologische F
Page 229 and 230:
_____. 1975. The Etruscans. Transla
Page 231 and 232:
_____. 1982. “A Mirror in the Duk
Page 233 and 234:
Simon, E. 1973. “Die Tomba dei To
Page 235 and 236:
_____. 2000. The Etruscans. Trans.
Page 237 and 238:
Winter, N. 2006. “Gorgons, Minota
show all

Final Draft - Preview Matter - Florida State University

Create successful ePaper yourself

Delete template?

Save as template?