人格化的外阴,仪式上的淫秽,还有波波

Aynur-Michèle-Sara Karatas
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摘要

几个泥塑可以追溯到希腊化时期,来自普里埃尼和萨摩斯的德墨忒耳神庙,描绘了裸露的女性身体的下半部分,包括手臂和腿(图1-2)。面部特征表现在小雕像的腹部上。一个来自厄特里的泥人和两个来自米蒂利尼的得墨忒耳神庙的泥人代表了没有胳膊和腿的腹部的面部特征(图3)。泥人的肖像让人想起了伊安贝的淫秽姿势,她掀起裙子,露出生殖器(home。赞美诗Dem. 199-205)。伊姆比的猥亵行为为仪式上的嘲弄提供了一个解释。根据节日的不同,仪式上的嘲弄是由男人和女人一起进行的,或者只有女人进行。尽管伊莱乌西尼亚崇拜的仪式嘲弄意义重大,但只有在阿提卡以外的少数铭文中提到了Iambe/Baubo。本文旨在分析所谓的波波族泥人。在讨论泥人之前,我将首先重新考虑有关Iambe和Baubo的书面资料,这些资料可以追溯到古代和后来的时期。鉴于有几篇论文讨论了大多数关于波波舞、仪式嘲弄和掀起裙子的书面资料,我将重点讨论在得墨忒耳节上表演的波波舞和仪式嘲弄的书面资料。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Personified vulva, ritual obscenity, and Baubo
Several clay figurines dating to the Hellenistic period from the sanctuaries of Demeter at Priene and Samos depict the lower part of naked female bodies with arms and legs (Figures 1–2). The facial features are represented on the stomach of the figurines. One single clay figurine from Erythrai and two from the sanctuary of Demeter at Mytilene represent the facial features on the stomach without arms and legs (Figure 3). The iconography of the clay figurines recalls the obscene gesture of Iambe, who lifted up her skirt and exposed her genitals (Hom. Hymn Dem. 199–205). The obscene act of Iambe offered an explanation for ritual mockery. Depending on the festival, ritual mockery was performed by men and women, or only by women. Despite the significance of ritual mockery for the Eleusinian cult, Iambe/Baubo is only mentioned in a few inscriptions dedicated outside Attica. The present paper aims to analyse the so-called clay figurines of Baubo. Before discussing the clay figurines, I will first reconsider the written sources on Iambe and Baubo dating to the Archaic and later periods. Given the fact that several papers discuss most written sources on Baubo, ritual mockery, and lifting up the skirt, I will focus on selected written sources on Baubo and ritual mockery performed at the festivals of Demeter.
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