{"title":"The myth of Iphigenia in fourth-century funerary vases of southern Italy","authors":"Gretel Rodríguez","doi":"10.1086/719761","DOIUrl":"https://doi.org/10.1086/719761","url":null,"abstract":"Painted vases featuring theatrical themes are common among the objects found in tombs of ancient Apulia in southern Italy. One of the recurring themes selected for the decoration of this corpus is the myth of Iphigenia, the daughter of Agamemnon whose sacri fi ce was required by Artemis in order to enable the Trojan expedition. This subject appears often in a variety of media such as wall painting and sculpture, but it features with particular frequency in painted vases produced in the fourth century BCE in Magna Graecia. This essay considers a series of fourth-century south Italian vases that depict the story of Iphigenia, revealing connections between the myth, its various dramatic iterations, and their pictorial representations on funerary ceramics. I argue that the version of the myth introduced by Euripides in his play Iphigenia among the Taurians was particularly suitable for the decoration of funerary vessels since it served as a metaphor for averting death. Because of the role Iphigenia played in rituals associated with the life cycles of women in the ancient Greek world, I also suggest that vases depicting her story might have been produced speci fi cally for female burials. This argument is founded on an in-depth iconographic analysis of six vessels from Apulia, Campania, and Basilicata, in conjunction with an examination of textual and archaeological evidence connected to the myth and cult of Iphigenia/Artemis. I conclude by contextualizing the vases ’ imagery and usage within Greek funerary traditions both in mainland Greece and in the Greek West. Studying these vessels as a group for the fi rst time, with a combined focus on their iconography and functions, reveals new aspects of their making and meanings, and allows us to better understand the popularity of the myth of Iphigenia in the funerary record of Magna Graecia. South Italian wares: Interactions between","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"31 - 47"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41776016","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}
{"title":"A wooden hand from Easter Island (Rapa Nui), part I","authors":"R. Schoch, Tomi S. Melka","doi":"10.1086/721156","DOIUrl":"https://doi.org/10.1086/721156","url":null,"abstract":"A life-size carved wooden hand partially covered with remnants of whitish bark cloth, collected on Easter Island during the visit of HMS Topaze in 1868, was located in a private collection ( fi gs. 1 – 2). To the best of our knowledge, this is the fourth traditional carved wooden hand known from Easter Island. 1 In this article we present a preliminary description of this object, which includes painted tattoo-like patterns and inscribed rongorongo -like glyphs. Relative to the latter, we address the question of whether or not any other objects inscribed with rongorongo -like glyphs were collected during the visit of HMS Topaze . In a subsequent complementary article we will offer an analysis of the tattoo-like patterns and rongorongo -like glyphs found on the wooden hand, along with notes on the cultural and religious signi fi cance of the hand for the pre-Christian Rapanui.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"303 - 317"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43085265","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}
{"title":"Books received October 2021–October 2022","authors":"Catherine Hansen","doi":"10.1086/723604","DOIUrl":"https://doi.org/10.1086/723604","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"351 - 352"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43733005","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}
{"title":"Documentation and decontextualization in Nora Okka’s spolia","authors":"Eric W. Driscoll","doi":"10.1086/721851","DOIUrl":"https://doi.org/10.1086/721851","url":null,"abstract":"The hermeneutic directive to interpret from context is far more ambiguous than it may at fi rst seem. . . . Every material aspect of an object has implications that change the hermeneutical connections, that is, “ contexts, ” among which one has a choice. Context is, therefore, by and large, a hypothetical concept.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"202 - 213"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48145511","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}
{"title":"Sourcing novelty","authors":"S. Houston, Felipe Rojas","doi":"10.1086/722709","DOIUrl":"https://doi.org/10.1086/722709","url":null,"abstract":"Christopher Woods and Chicago, with generous for Culture and Society. in particular read and co Stauder was also helpful evidence. In their unpub been cited in Piers Kelly Writing Systems as Tech Asia,” Terrain 70 (2018) Study of Writing,” Histor https://hiphilangsci.net/2 Silvia Ferrara, “Another in the Aegean and the E Relations between Scrip M. Steele (Oxford, 2018 1. Thomas More, Lib festivus, de optimo reip[ (Louvain, 1516). 2. On the introducto Wooden, “A Reconsider Utopia,” Albion 10 (197 3. Budé quoted in W 154.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"250 - 266"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47963752","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}
{"title":"Gorgeous to gaze upon","authors":"Gina Konstantopoulos","doi":"10.1086/721815","DOIUrl":"https://doi.org/10.1086/721815","url":null,"abstract":"1. The Sumerian literary text Gilgamesh and Agga, for example, occurs within or just outside of the walls of the city; see edition in Römer (1980). On the division between the country and city, see Richardson (2007). Berlin (1983) applies a distinction between “our settlement” and “our country,” with many fantastical settings occurring Inevitably they find their way into the forest. It is there that they lose and find themselves. It is there that they gain a sense of what is to be done. The forest is always large, immense, great, and mysterious. No one ever gains power over the forest, but the forest possesses the power to change lives and alter destinies. (Zipes 1987, 66)","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"69 - 80"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49143976","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}
{"title":"The aporia of cinders and the aporetic structure of Hiroshima mon amour","authors":"T. Hildebrandt","doi":"10.1086/721155","DOIUrl":"https://doi.org/10.1086/721155","url":null,"abstract":"The opening image: Fallout","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"133 - 140"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45413070","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}
{"title":"Early modern Rome on the move","authors":"Niall Atkinson, Susanna Caviglia","doi":"10.1086/723398","DOIUrl":"https://doi.org/10.1086/723398","url":null,"abstract":"From the late sixteenth century, the monumental new cupola of St. Peter’s Basilica was normally the first glimpse of Rome noted by visitors arriving from the north along the Via Francigena. This route followed the ancient Via Cassia through southern Tuscany from Siena into Lazio, where the travelers joined the Via Flaminia just north of the Tiber (fig. 1). From there, they crossed over the Milvian Bridge, where the emperor Maxentius was defeated by Constantine in 312 and where they often began their reflection upon the city’s ancient heritage. In the space between these two views of Rome’s modernity and antiquity, visitors traversed the threshold between the seemingly depopulated arid landscape of the agro romano, the meandering flow of the Tiber, and the cultivated villas (vigne) emerging at the periphery of the city. After the bridge, the suddenly rectilinear trajectory of the Via Flaminia to the Porta del Popolo ushered the traveler onto the expanding network of newly laid out avenues that were linking the city’s ancient monuments to its aspiring triumphant modernity. These landscapes, waterscapes, and cityscapes constituted three intersecting ecologies that were alternately explored, described, lamented, and celebrated by visitors, whose journeys stitched together multiple and often opposing narratives of the transforming city. While papal planners were designing Rome’s possible futures, foreigners—whether humanists, diplomats, or artists—were developing ways of representing both the degradation and the regeneration of its topographies as a series of interconnected itineraries. This study, therefore, traces the ways in which a range of official design technologies and individual representational practices connected the ecologies of early modern Rome. It argues that these practices were centered","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"100 - 119"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43566113","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}
{"title":"The melancholy studio","authors":"Jeffrey S. Weiss, Peter F. Parshall","doi":"10.1086/720753","DOIUrl":"https://doi.org/10.1086/720753","url":null,"abstract":"The two works under consideration are representations of the artist’s studio separated by roughly five hundred years. Albrecht Dürer’s Melencolia I and Bruce Nauman’s Mapping the Studio I (Fat Chance John Cage) are allegories of aesthetic practice that respectively mark the emergence of the modern idea of the studio and of the studio’s demise. Each work conjures the studio as a province of activity in seclusion with specific attention to the artist as maker and thinker. Who is the author of a work in which the conventions of authorship are undermined by ambivalence or doubt? The question exposes a paradox identifying a limitation within the epistemology of making: that the artwork, as an artifact of material, technical, and formal means, can make only uncertain claims to knowledge, including claims to the artist’s self-knowledge. The following text is offered as a variation on the usual means of reflecting on the meaning of works of art. Our premise is that different voices might usefully illuminate a general problem by writing in response to one another about different objects in different places and times that seem to harbor a related question. The respective stages of this exchange are meant to resonate without, however, claiming to build a particular historical connection or a uniform theory of art-making. Rather, each voice undertakes a separate investigation of the properties of an object inspired by the other, each step in the exchange initiated to some degree by the preceding one. The (paradoxical) consequence of this procedure proves to be a gradual convergence of themes as the objects in question become more precisely defined and therefore increasingly discrete. 1. Michael Auping, “A Thousand Words: Bruce Nauman Talks about Mapping the Studio,” Artforum 40, no. 7 (March 2002): 120. For basic information about the work and important descriptive accounts, see Lynne Cooke, Bruce Nauman, “Mapping the Studio I (Fat Chance John Cage),” exhibition brochure, Dia Center for the Arts (New York, 2002); and Christine Litz, “At Night All Cats Are Grey? Mysterious Elements in Bruce Nauman’s Work,” in Bruce Nauman: Mapping the Studio I (Fat Chance John Cage), exh. cat., Museum Ludwig (Cologne, 2002), 21–27. The camera","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"77-78 1","pages":"318 - 350"},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45728420","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}
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