Life, Death and Representation最新文献

6. In the Guise of Gods and Heroes: Portrait Heads on Roman Mythological Sarcophagi 6. 神与英雄的伪装:罗马神话石棺上的头像

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.189

Z. Newby

{"title":"6. In the Guise of Gods and Heroes: Portrait Heads on Roman Mythological Sarcophagi","authors":"Z. Newby","doi":"10.1515/9783110216783.189","DOIUrl":"https://doi.org/10.1515/9783110216783.189","url":null,"abstract":"The Roman practice of adding portrait heads to the characters on mythological sarcophagi is well known. These faces with their individualised features and period hairstyles gaze out at us from the pages of handbooks and catalogues, giving a vivid impression of the way that Roman lives and deaths could be directly equated with the fates of mythological figures. Yet this very ubiquity begs a question: just how representative of the larger category of Roman mythological sarcophagi are the chests with portrait heads? The aim of this paper is to conduct a close analysis of mythological sarcophagi with portrait heads, to look at what the presence of portraits adds to the mythological scenes and to ask whether they should be seen as simply intensifying the message of a mythological scene or of altering and nuancing it in a particular way. Despite the familiarity of sarcophagi with portrait heads, little analysis of these chests as a group has been done. While readings of some individual pieces suggest that the addition of portrait heads sometimes refocused the meaning of a myth in surprising ways, the prevailing assumption among scholars seems to be that portrait features on sarcophagi merely reinforce the normal message of the mythological subject matter. For many scholars, the portraits simply make explicit a message which may be more muted elsewhere. In Koortbojian’s words ‘all mythological sarcophagi assert analogies; the presence of the portrait features of the deceased merely intensifies and particularizes the monument’s message’. Greater analysis of the sarcophagi with portrait heads might be expected from Henning Wrede’s discussion of images assimilating individuals with particular gods. This discusses a number of mythological sarcophagi alongside statues or reliefs which show individuals in the dress of, or with the attributes of, divine figures. However, Wrede’s focus is necessarily selective, and depends on","PeriodicalId":340893,"journal":{"name":"Life, Death and Representation","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114631943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 5

Frontmatter

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.fm

引用次数: 0

1. Before Sarcophagi 1. 石棺前

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.21

G. Davies

引用次数: 0

2. Habent sua fata: Writing life histories of Roman Sarcophagi 2. 写罗马石棺的生活史

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.55

J. Huskinson

引用次数: 6

4. The Roman Sarcophagus ‘Industry’: a Reconsideration 4. 罗马石棺“工业”:反思

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.119

B. Russell

引用次数: 1

10. Borrowed Verse and Broken Narrative: Agency, Identity, and the (Bethesda) Sarcophagus of Bassa 10. 借用的诗句和破碎的叙述:代理，身份，和(贝塞斯达)巴萨石棺

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.337

Dennis E. Trout

引用次数: 1

8. Myth and Visual Narrative in the Second Sophistic – a Comparative Approach: Notes on an Attic Hippolytos Sarcophagus in Agrigento 8. 《第二诡辩》中的神话与视觉叙事——一种比较方法:阿格里根托一座阁楼上的希波吕托斯石棺注释

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.261

B. C. Ewald

{"title":"8. Myth and Visual Narrative in the Second Sophistic – a Comparative Approach: Notes on an Attic Hippolytos Sarcophagus in Agrigento","authors":"B. C. Ewald","doi":"10.1515/9783110216783.261","DOIUrl":"https://doi.org/10.1515/9783110216783.261","url":null,"abstract":"In the decorated marble sarcophagi, produced in the Roman Empire during the second and third centuries, death became the occasion for significant private expenditure which bears characteristics of what has been called ‘abjection’. Where we might see decay and decomposition, the rotting corpse, we are greeted by a visual feast of immaculate and immortal marble bodies ( Figure 8.1 a-d). The sarcophagus itself in its materiality – the wealth of figures and the richness of its narrative, the splendour of its painting and gilding – becomes a redemption for death and decay, and a principle means in the fight against the threat of oblivion. The making of the sarcophagus can thus be understood as a pious act of substitution in which the integrity of the body is symbolically reinstated. To use a mythological simile that seems fitting to a discussion of sarcophagi depicting the Hippolytos myth, this is much like the way in which Theseus piously pieces together the mangled portions of his son’s dismembered body – corpus fingit – in the horrific last scene of Seneca’s Phaedra. In this play, the integrity of the corpse is regarded as a prerequisite for proper mourning (1261): quam magna lacrimis pars adhuc nostris abest. A later Christian tradition would go the opposite way, reminding us of decay and decomposition in a memento mori that consciously pairs abjection with sublimation and catharsis in its artful representation of withering flesh. This, of course, implies the creation of a new paradox around life and death, and the promise of a very different exchange of bodies – but that is another story. It is not by accident that the emergence of richly decorated sarcophagi during the second century takes place at a time in which concerns about the body intensify, and in which the body becomes a main conduit for discourses","PeriodicalId":340893,"journal":{"name":"Life, Death and Representation","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132020462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

3. Tragedy’s Forgotten Beauty: the Medieval Return of Orestes 3.悲剧中被遗忘的美:中世纪俄瑞斯忒斯的回归

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.83

Francisco Prado-Vilar

引用次数: 3

11. Image and Rhetoric in Early Christian Sarcophagi: Reflections on Jesus’ Trial 11. 早期基督教石棺中的形象与修辞:对耶稣受审的反思

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.359

J. Elsner

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引用次数: 2

Abbreviations 缩写

Life, Death and Representation Pub Date : 2010-12-15 DOI: 10.1515/9783110216783.vii

引用次数: 0