DOCSLIB.ORG

Hypnos and the Incubatio Ritual at Ulpia Traiana Sarmizegetusa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hypnos and the Incubatio Ritual at Ulpia Traiana Sarmizegetusa HYPNOS AND THE INCUBATIO RITUAL AT ULPIA TRAIANA SARMIZEGETUSA TIMEA VARGA* : e aim of this study is to analyse a relief om suggest the presence of Hypnos or Oneiros in asklepieia, Ulpia Traiana Sarmizegetusa portraying the healing triad especially in the Eastern part of the Roman Empire. Aesculapius – Hygeia – Telesphorus together with another Ultimately the study aempts to clarify whether the relief small god, so far interpreted as Eros – anatos and to dem- om Ulpia can be considered a metaphor for incubatio and onstrate that the laer is in fact Hypnos. Aer describing the the implications of this, trying to respond to the question piece the study will bring forth all the similar evidence found whether or not this ritual was practiced in the asklepieion in Dacia as well as all the analogies found in the Roman of Ulpia, taking in consideration all the archaeological data Empire, trying to nd a paern in their iconographical that can be correlated with this, both architectural (foun- scheme and their spatial layout. tains, sacricial altars) and artefactual (the great quan- Furthermore other indirect evidence can be selected om tity of lamps, votive inscriptions, perhaps even the surgical ancient literary sources and epigraphy that aest either a instruments). collective dedication for the aforementioned gods, either : Aesculapius, Hygeia, Hypnos, incubatio, Ulpia Traiana Sarmizegetusa. Reconsidering the identity of a supposed Eros-Thanatos associated with the healing gods in Dacia e healing cult of Aesculapius and Hygeia is well aested in Dacia by more than one hundred g- ured monuments and votive inscriptions, of which almost a half comes from Ulpia Traiana Sarmizegetusa, as it is otherwise naturally expected, not only because of the more advanced archeological researches in this place, but also because it has the only archaeologically aested asklepieion of Dacia, even if epigraphically there are another two mentioned at Apulum and Ampelum.1 Among the numerous gured monuments discovered at Ulpia Traiana Sarmizegetusa there is also a fragment of a marble votive relief dedicated to the numen of Aesculapius and Hygeia, bearing the image of the healing gods accompanied by a small divinity. According to the iconography, the laer was interpreted as Eros, based on the crossed position of his legs and the inverted torch on which he seems to be resting.2 However this particular iconography would suggest that he played the role of personifying death, hence the contradiction with the healing gods, which portray health and ultimately life. e piece measures 36 × 27 × 4 cm and was discovered in 1973, during the excavations in the sacred area of the asklepieion of Ulpia Traiana Sarmizegetusa, in a square shaped fountain, along with two other headless statues depicting Aesculapius and Hygeia. For this reason some scholars believed this was an * History and Philosophy Faculty, Babeș-Bolyai University, Cluj-Napoca, Romania, [email protected] 1 IDR III/3, 280; IDR III/5, 6,7,13. 2 Piso 1974–75, p. 60–61, g. 5 a-b; Rusu 1975, p. 698–702, g. 3/8; Daicoviciu 1976, p. 63; Alicu, Pop, Wollmann 1979, nr. 1, pl. I; IDR III/2, 166, g. 136; Schäfer 2007, p. 148–149, H I 1, Taf. 1; Mihăilă 2008, p. 16–17, nr. 5. www.muzeuzalau.ro / www.cimec.ro TIMEA VARGA N act of desecration commied by the rst Christians,3 especially considering the important role played by water in the sanctuary of the healing gods, which seems to exclude the possibility of an intentional deposit. However a similar case can be seen at Lauriacum too, where in the lling of a Roman fountain was discov- ered a marble torso representing Aesculapius4. According to other scholars this sort of depositions rather suggest favissa examples, intentional depositions of discarded remains once used as votive o erings, either damaged by age, or deliberately damaged to avoid being deled by possible thieves. 5 e surface of the relief has eroded due to its prolonged exposure to water, but we can easily see the three divinities, placed into a rectangular frame, delimited by a narrow border on the long sides and widened at the boom, providing sucient space for the dedicatory inscription: Num(ini) Aesc(ulapii) [et Hyg(iae)] / U[l]pia Ianu[aria v(otum) l(ibens) p(osuit)].e aention to anatomical details and the natural molding of the clothing folds according to the counterpose line, suggest the careful study of the artisan. e healing gods are depicted in the central part of the relief, along with their usual aributes. In the le part of the relief, we see Hygeia dressed in double chiton, standing in counterpost position, with the weight of her body falling on the right foot, feeding the snake that she holds in her right hand from a patera held in the le. e “V” shaped crease on her chest, along with the long chiton, covered by the himation that falls diagonally above the right knee and the snake that ascends in a slanting spiral paern towards the patera, recall a specic iconographic type, i.e. the Pii type6, which is in fact a variant of the more general type Broadlands.7 At the le of the goddess, Aesculapius, represented also in counterpost position, has the lower part of his body draped in a himation, that goes up to his le shoulder most probably, while his right arm is resting on the serpent-entwined rod. Although at rst sight this seems to be the classic representation of the god, at a careful examination we observe that in the same hand that rests on the sta , the god holds an object that resembles an egg that he feeds to the entwined snake. is particular aribute is characteristic to the Nea Paphos type8, but his iconography will be discussed again later, aer we review another votive relief found in Dacia, very similar to the one found at Ulpia Traiana Sarmizegetusa. Given the fact that the right part of the relief is not preserved, more likely the symmetry of the piece was increased by placing in the le part of Aesculapius another child-god, Telesphorus, as suggested by a piece with uncertain place of origin, deposited at the National Museum of Transylvanian History. 9 is is another marble votive relief, of a smaller size, preserved fragmentary, the lower part of the relief that showed the legs below the knee being lost. Like in the previous relief Hygeia wears a himation that falls diagonally above the right knee and has a “V” shaped crease on her chest, while Aesculapius holds in his right hand an egg and the serpent-entwined rod that looks rather like a tree trunk than a sta . In this relief however we can also see another of his well known aributes: the volumen. e very low draping of the coat, which forms a crease on the lower abdomen and the volumen in his le hand have close analogies with a Chiaramonti type statue from Rome10, while the egg symbol is found at the Nea Paphos version.11 In general the two reliefs present prey good analogies in terms of style, both being characterized by balance, symmetry and aention to anatomical proportions and it’s not unlikely that this relief would have had a dedicatory inscription at the boom too. While the right corner of the relief is occupied by the same small god resting on a reversed torch, 3 Daicoviciu 1974–1975, p. 228; Idem 1976, p. 63; Daicoviciu, Alicu 1981, p. 61; Diaconescu 2012, p. 165. 4 CSIR – Österreich III/2, 14, apud Cumurciuc 2012, p. 155, pl. XXVII, g. 76. 5 Schäfer 2007, p. 66–67; Bărbulescu 2009, p. 117. 6 LIMC V, s.v. Hygeia, nr. 207–208. 7 LIMC V, s.v. Hygeia, nr. 63–108. 8 Sirano 1994, p. 199–232. 9 Igna 1935, p. 64, g.25; Mihăilă 2008, p. 22–23, nr. 14. 10 LIMC II, s.v. Asklepios, p. 877, nr. 116. 11 Sirano 1994, p. 199–232. — 242 — www.muzeuzalau.ro / www.cimec.ro HYPNOS AND THE INCUBATIO RITUAL AT ULPIA TRAIANA SARMIZEGETUSA N the le corner holds the image of Telesphorus, easily recognized by the bardocucullus his wearing while holding his hands clasped in front of his chest. Telesphorus, encountered especially in the eastern part of the Roman Empire is considered to be the son of Aesculapius, and is responsible in particular with the protection of children from diseases, although more generally speaking his tasks extend to that of the god of convalescence. His cult appears far later than that of Aesculapius, barely in the rst century AD, spreading from Pergamum to Asia Minor and the Danubian area.12 Figurines representing children, o ered as ex vota, were discovered in several asklepieia of the Greek world, suggesting that Aesculapius was himself considered a special protector of children, before Telesphorus took upon him these aributes. 13 More interesting remains the fact that in this quality he even accompanied children beyond death, perhaps as a nal gesture of protection, as suggested by some statuees depicting the small cloaked god that were discovered in chil- dren’s graves in various Roman necropolises from Sardinia.14 Regarding his iconography, he usually appears either individually15 or accompanied by his father Aesculapius,16 either as part of the healing triad.17 Sometimes he also appears besides his sister Hygeia, mostly on coins,18 and more rarely in statuary art.19 At Ulpia Traiana Sarmizegetusa we also nd him on a fragmentary votive relief,20 that shows him close to Aesculapius21, and it cannot be ruled out that in this case too we have to do with a similar piece to the one that makes the subject of our study, but unfortunately its fragmentary condition doesn’t allow us to be sure.
Load more

Recommended publications
  • Did Ancient People Wander Through a Mystical World Each Night?
    Special Special Feature Human Knowledge: Sleep Feature Sleep = a state of apparent death Human Knowledge Did Ancient People Wander through a Mystical World The Sleeping Cat carved into Nikko Toshogu Shrine Sleep Each Night? is a symbol of peace The Sleeping Cat carved into Nikko Toshogu Shrine, in Tochigi Prefecture, is said to have been carved by Hidari Jingoro, in the hope of In modern times, people have strayed protecting Tokugawa Ieyasu. Another explana- Why do humans sleep? The answer tion rests on the premise that sleep represented from the natural human instinct of sleep. to this question is clear: sleep is peace, in that the reign of the Edo Shogunate instinctive and is indispensable for was said to be “so peaceful that even cats We need advancements in the scientific approach to sleep. the restoration of the body’s func- could sleep.” tions. Sleep is essential for human life. However, in ancient times, sleep was considered closer to death than between this world and the heavens. remain unknown. to life, and was general thought of The things that the spirit experienced For example, it is said that beds as a state of apparent death. This there became dreams, and if the spirit were invented in ancient Egypt; theme is also apparent in Hypnos, did not return, this was interpreted to however, it is not clear how they later the Greek god of sleep, who is broth- mean death. spread. In Japan, there is evidence ers with Oneiros, the god of dreams, Although sleep was the state that bed-like furniture made from tree as well as Thanatos and Moros, gods of rest shared by everyone, logs was once used.
    [Show full text]
  • Mercury (Mythology) 1 Mercury (Mythology)
    Mercury (mythology) 1 Mercury (mythology) Silver statuette of Mercury, a Berthouville treasure. Ancient Roman religion Practices and beliefs Imperial cult · festivals · ludi mystery religions · funerals temples · auspice · sacrifice votum · libation · lectisternium Priesthoods College of Pontiffs · Augur Vestal Virgins · Flamen · Fetial Epulones · Arval Brethren Quindecimviri sacris faciundis Dii Consentes Jupiter · Juno · Neptune · Minerva Mars · Venus · Apollo · Diana Vulcan · Vesta · Mercury · Ceres Mercury (mythology) 2 Other deities Janus · Quirinus · Saturn · Hercules · Faunus · Priapus Liber · Bona Dea · Ops Chthonic deities: Proserpina · Dis Pater · Orcus · Di Manes Domestic and local deities: Lares · Di Penates · Genius Hellenistic deities: Sol Invictus · Magna Mater · Isis · Mithras Deified emperors: Divus Julius · Divus Augustus See also List of Roman deities Related topics Roman mythology Glossary of ancient Roman religion Religion in ancient Greece Etruscan religion Gallo-Roman religion Decline of Hellenistic polytheism Mercury ( /ˈmɜrkjʉri/; Latin: Mercurius listen) was a messenger,[1] and a god of trade, the son of Maia Maiestas and Jupiter in Roman mythology. His name is related to the Latin word merx ("merchandise"; compare merchant, commerce, etc.), mercari (to trade), and merces (wages).[2] In his earliest forms, he appears to have been related to the Etruscan deity Turms, but most of his characteristics and mythology were borrowed from the analogous Greek deity, Hermes. Latin writers rewrote Hermes' myths and substituted his name with that of Mercury. However, there are at least two myths that involve Mercury that are Roman in origin. In Virgil's Aeneid, Mercury reminds Aeneas of his mission to found the city of Rome. In Ovid's Fasti, Mercury is assigned to escort the nymph Larunda to the underworld.
    [Show full text]
  • Frequently Used Stems
    FREQUENTLY USED STEMS The following list includes those Greek and Latin words Greek and a Latin word are given. Presence of a dash before occurring most frequently in this Dictionary, arranged or after such an element indicates that it does not occur as alphabetically under their English combining forms as an independent word in the original language. Information rubrics. The dash appended to a combining form indicates necessary to the understanding of the form appears next in that it is not a complete word and, if the dash precedes the parentheses. Then the meaning or meanings of the word combining form, that it commonly appears as the terminal are given, followed where appropriate by reference to a element of a compound. Infrequently a combining form is synonymous combining form. Finally, an example is given both preceded and followed by a dash, showing that it to illustrate use of the combining form in a compound usually appears between two other elements. Closely English derivative. related forms are shown in one entry by the use of If this list is used in close conjunction with the parentheses: thus carbo(n)-, showing it may be either etymological information given in the body of the carbo-, as in carbohydrate, or carbon-, as in carbonuria. Dictionary, no confusion should be caused by the similarity Following each combining form the first item of of elements in such words as melalgia, melancholia, and information is the Greek or Latin word, identified by melicera, where the similarity is only apparent and the [Gr.] or [L.], from which it is derived.
    [Show full text]
  • Aletheia: the Orphic Ouroboros
    Edith Cowan University Research Online Theses : Honours Theses 2020 Aletheia: The Orphic Ouroboros Glen McKnight Edith Cown University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Classics Commons, Philosophy Commons, and the Poetry Commons Recommended Citation McKnight, G. (2020). Aletheia: The Orphic Ouroboros. https://ro.ecu.edu.au/theses_hons/1541 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1541 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Aletheia: The Orphic Ouroboros Glen McKnight Bachelor of Arts This thesis is presented in partial fulfilment of the degree of Bachelor of Arts Honours School of Arts & Humanities Edith Cowan University 2020 i Abstract This thesis shows how The Orphic Hymns function as a katábasis, a descent to the underworld, representing a process of becoming and psychological rebirth.
    [Show full text]
  • The Greeks and the Irrational
    The Greeks and the Irrational http://content.cdlib.org/xtf/view?docId=ft0x0n99vw&chunk.id=0&doc.... Preferred Citation: Dodds, Eric R. The Greeks and the Irrational. Berkeley: University of California Press, c1951, 1973 printing 1973. http://ark.cdlib.org/ark:/13030/ft0x0n99vw/ The Greeks and the Irrational By E. R. Dodds UNIVERSITY OF CALIFORNIA PRESS Berkeley · Los Angeles · Oxford © 1962 The Regents of the University of California To GILBERT MURRAY Preferred Citation: Dodds, Eric R. The Greeks and the Irrational. Berkeley: University of California Press, c1951, 1973 printing 1973. http://ark.cdlib.org/ark:/13030/ft0x0n99vw/ To GILBERT MURRAY Preface THIS BOOK is based on a course of lectures which I had the honour of giving at Berkeley in the autumn of 1949. They are reproduced here substantially as they were composed, though in a form slightly fuller than that in which they were delivered. Their original audience included many anthropologists and other scholars who had no specialist knowledge of ancient Greece, and it is my hope that in their present shape they may interest a similar audience of readers. I have therefore translated virtually all Greek quotations occurring in the text, and have transliterated the more important of those Greek terms which have no true English equivalent. I have also abstained as far as possible from encumbering the text with controversial arguments on points of detail, which could mean little to readers unfamiliar with the views controverted, and from complicating my main theme by pursuing the numerous side-issues which tempt the professional scholar. A selection of such matter will be found in the notes, in which I have tried to indicate briefly, where possible by reference to ancient sources or modern discussions, and where necessary by argument, the grounds for the opinions advanced in the text.
    [Show full text]
  • Oneiros Free
    FREE ONEIROS PDF Markus Heitz | 640 pages | 03 Dec 2015 | Quercus Publishing | 9781848665293 | English | London, United Kingdom Download | Oneirosvr Oneiros the ancient Greeks, dreams were not generally personified. An Oneiros is summoned by Zeus, and ordered to go to the camp of the Greeks at Troy and deliver a message from Zeus urging him Oneiros battle. The Oneiros goes quickly to Agamemnon's tent, and finding him asleep, stands above Agamemnon's head, and taking the shape of Nestora trusted Oneiros to Agamemnon, The Oneiros speaks to Agamenon, as Zeus had instructed him. The Odyssey locates a "land of dreams" past the streams of Oceanusclose to Asphodel Meadows Oneiros, where the spirits of the dead reside. Euripidesin his play Hecuba Oneiros Hecuba call "lady Earth" the "mother of black-winged Oneiros. Related figures are the Somnia DreamsOneiros thousand sons that the Latin poet Ovid gave to Somnus Sleepwho appear in dreams. From Wikipedia, the free encyclopedia. Personification of dreams in Greek mythology. Oneiros, p. Oneiros ; LSJs. The translations of the names used are those given by Caldwell, p. Ancient Greek deities by affiliation. Eos Helios Selene. Oneiros Leto Lelantos. Astraeus Pallas Perses. Atlas Epimetheus Menoetius Prometheus. Dike Eirene Eunomia. Bia Kratos Nike Zelos. Alecto Oneiros Tisiphone. Alexiares and Anicetus Aphroditus Enyalius Palaestra. Hidden categories: Articles with short description Short description is different from Wikidata. Oneiros Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Oneiros as Oneiros Printable version. Wikimedia Commons. Oneiros | WoWWiki | Fandom Oneiroior the Oneirosare a rare, supernatural species thought not to exist that made its debut on the ninth episode of Legacies.
    [Show full text]
  • Beyond Priesthood Religionsgeschichtliche Versuche Und Vorarbeiten
    Beyond Priesthood Religionsgeschichtliche Versuche und Vorarbeiten Herausgegeben von Jörg Rüpke und Christoph Uehlinger Band 66 Beyond Priesthood Religious Entrepreneurs and Innovators in the Roman Empire Edited by Richard L. Gordon, Georgia Petridou, and Jörg Rüpke ISBN 978-3-11-044701-9 e-ISBN (PDF) 978-3-11-044818-4 e-ISBN (EPUB) 978-3-11-044764-4 ISSN 0939-2580 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com TableofContents Acknowledgements VII Bibliographical Note IX List of Illustrations XI Notes on the Contributors 1 Introduction 5 Part I: Innovation: Forms and Limits Jörg Rüpke and FedericoSantangelo Public priests and religious innovation in imperial Rome 15 Jan N. Bremmer Lucian on Peregrinus and Alexander of Abonuteichos: Asceptical viewoftwo religious entrepreneurs 49 Nicola Denzey Lewis Lived Religion amongsecond-century ‘Gnostic hieratic specialists’ 79 AnneMarie Luijendijk On and beyond
    [Show full text]
  • The Meditations by Marcus Aurelius (One of Two)
    The Meditations by Marcus Aurelius (one of two) Introduction This document is a commentary of sorts on the Meditations by Marcus Aurelius which consists of twelve short books. The intent is to enable the reader to approach the text in the spirit of lectio divina. This is phrase is usually reserved for reading the Bible and other Christian literature in a slow, meditative fashion, but it can be applied to an ancient philosophical text. The text at hand achieves this by inserting key transliterated Greek terms which includes cross references to the same word or similar words. Usually the last reference to a particular word or phrase is employed, working backwards. The Meditations is a late example of Stoic philosophy and can used as an introduction to it. The English text of George Long was downloaded from http://classics.mit.edu, The Internet Classics Archive. An updated version of the Long edition may be found in the Dover Thrift Edition (1997). BOOK ONE 1.1. From [para: alongside, in the sense of being present to Verus. Each section of Book One begins with this preposition.] my grandfather Verus I learned [not in Greek text] good morals [kaloethes: kallos & ethos: beauty custom or disposition] and the government of my temper [aorgeton: lack of anger; orge: natural impulse or temperament]. 1.2. From [para] the reputation [doxa: opinion, estimation] and remembrance [mneme: or mention, a living presence as opposed to mere memories] of my father, modesty [aidemon: bashfulness; can also pertain to a sense of shame] and a manly character [arrenikon: pertaining to the masculine gender and connotes robustness].
    [Show full text]
  • O Oceanids (Ὠκεανίδες). the 'Holy Company' of Daughters of *Ocean and *Tethys, and Sisters of the River-Gods. Their N
    O Oceanids (Ὠκεανίδες). The 'holy company' of daughters of *Ocean and *Tethys, and sisters of the river-gods. Their number varies, but Apollodorus names seven (Asia, *Styx, Electra, Doris, Eurynome, *Amphitrite, *Metis) and Hesiod forty-one, including, in addition to those mentioned by Apollodorus, *Calypso *Clymene and Philyra. Most of those named mated with gods (Amphitrite with Poseidon, Doris with Nereus for example) and produced important offspring (Athena was born from Metis and Zeus, Philyra mated with Kronos in the form of a horse and produced the centaur Chiron, Clymene was the mother of Prometheus, and also bore Phaethon to Helius the sun-god.). The sons of Ocean were the fresh-water rivers, but some of the daughters were sea-nymphs, others spirits of streams called after a characteristic of their water such as Ocyrrhoe ('swift-flowing') or Xanthe ('brownish-yellow'); Styx, unusually, was a female river deity, personifying the river of Hades. Calypso ruled over the island kingdom of Ogygia (but her parentage as a true Oceanid is disputed). Metis had the ability, common to sea-gods, of being able to change her shape, although she was little more than the personification of wisdom, swallowed by Zeus in order to absorb that wisdom and to contain any threat from the child with whom she was pregnant. Oceanids feature as the chorus in Prometheus Bound, a tragedy which is set at the north-eastern edge of the known world, and at a time before Zeus had consolidated his power. The Oceanids were part of the older, pre-Olympian race of gods, who had a role as consorts or mothers of other divinities, but were more often viewed anonymously as belonging to the vastness of the sea, to be placated in times of storm and turbulence.
    [Show full text]
  • Naoto Kawahara “Hypnos” Dates: Jul 3 – 31, 2021 Location: Taka Ishii Gallery (Complex665)
    Naoto Kawahara “Hypnos” Dates: Jul 3 – 31, 2021 Location: Taka Ishii Gallery (complex665) Taka Ishii Gallery is pleased to present a solo exhibition with Naoto Kawahara. Featuring four new paintings, it is his seventh solo exhibition with the gallery and the first in six years. Kawahara has long produced photorealistic paintings that faithfully reproduce photographs of people and landscapes around him and scenes from films. In recent years, he has made references to images from classic paintings by Albrecht Dürer, Balthus, Lucas Cranach, Edgar Degas, Edvard Munch, Pierre Bonnard, and Pieter Claesz, among others, changing the figures through his own models and re-envisioning the original scenes on his canvases. Through this series of “re-envisioned paintings,” the artist has developed and demonstrated to the viewer “an exploration of prototypes of imagery that still strike a deep chord with people today,” while “creating déjà vu perceptions through repetitions of the subject matters borrowed from old masters.” This time, the artist references paintings by Lucian Freud (1922-2011). For Kawahara, who has worked mainly on classic and modern painters, this is the first attempt to refer to works by a painter who, active throughout the 20th century, lived contemporaneously with him. His focus in this show is placed on reconsideration of both the unbalanced nature and harmony generated by two colliding elements in Freud’s oeuvre—namely “the almost violent depictions peculiar to him” and “the delicate and precise depictions” that can be seen in small details—as well as “the beauty inherent in their interrelation.” The title of this exhibition, “Hypnos,” comes from the name of the god of sleep in Greek mythology.
    [Show full text]
  • The Ghost of Clytemnestra in the Eumenides : Ethical Claims Beyond Human Limits
    The Ghost of Clytemnestra in the Eumenides : Ethical Claims Beyond Human Limits Amit Shilo American Journal of Philology, Volume 139, Number 4 (Whole Number 556), Winter 2018, pp. 533-576 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/ajp.2018.0035 For additional information about this article https://muse.jhu.edu/article/712553 Access provided by University of California , Santa Barbara (8 Jan 2019 22:09 GMT) AMERICAN JOURNAL OF PHILOLOGY THE GHOST OF CLYTEMNESTRA IN THE EUMENIDES: ETHICAL CLAIMS BEYOND HUMAN LIMITS AMIT SHILO u Abstract: The Ghost of Clytemnestra is the first afterlife figure in extant Greek literature to call for vengeance instead of ritual burial. She goads the Erinyes to kill Orestes in order to rectify the wrongs she has suffered. Yet the living Clytem- nestra has already proven manipulative, politically usurping, and murderous; her Ghost attacks her own son. Further, the Ghost’s lack of substance (as eido\lon, psyche\, or onar) distances her from the living world. On what ethical grounds, then, does the Ghost base her claims? How can a character so far beyond the boundaries of societal norms demand serious ethical consideration? I. INTRODUCTION: CLYTEMNESTRA’S REAPPEARANCE AND ETHICAL APPEALS AT THE END OF THE CHOEPHOROI Orestes kills his mother, Clytemnestra, and displays her corpse to humans, gods, and the theatrical audience as proof of his just vengeance (Ch. 973–1006). In an eerie reversal at the start of the Eumenides, Clytemnestra reappears onstage, bearing the wounds of her murder, to demand vengeance against Orestes. Like the living queen, the Ghost of Clytemnestra marshals rhetoric to effect action in the world, rousing the sleeping Erinyes as her proxies by reciting a multitude of wrongs concerning her dishonor and suffering (Eu.
    [Show full text]
  • Appendix 5: Multilingual Dictionary for Multifaith and Multicultural Mediation and Education
    APPENDIX 5: MULTILINGUAL DICTIONARY FOR MULTIFAITH AND MULTICULTURAL MEDIATION AND EDUCATION © Thomas Clough Daffern This appendix consists of a work in progress: the attempt to compile an exhaustive dictionary of world languages, focusing on words that are of direct interest to the work of the multifaith and multicultural mediation: such terms include those on the one hand, relating to peace, non-violence, conflict, violence, war, justice, mediation, reparation, as well as terms relating to belief, values, ideas, identity, faith, deity, God, ultimate truth etc. The work presented here is very much a work in progress, as the accompanying table of languages makes clear; some languages have received more attention than others, some are absent, some are under-represented; this is due largely to the ways in which the dictionary has been compiled thus far, the limitations of resources at the editors disposal, and the scattering of volunteer helpers who have aided the research thus far. The editor owes a considerable debt of gratitude to various colleagues for assistance in bringing the project this far, including: Gordana Netkovska, Mary Napper, Sarah Kennedy, Agatha Haun, Surjit Singh, to name but a few. It is hoped in time to further complete this work, which is proving of use in the work of multifaith and multicultural mediation, for which purpose it is intended. It is included here as an appendix to the editor’s thesis, as a way of indicating something of the scope of one of the projects inspired by the work of the MMMS, and transpersonal historiography in action, applied to the study of comparative linguistics and the history of words and their meanings.
    [Show full text]