Su Numerusm Genus E Sexus. Elementi Per Una Grammatica Dell
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Transmission of Liver Divination from East to West
THE TRANSMISSION OF LIVER DMNATION FROM EAST TO WEST by MARy R. BACHVAROVA "The spread of hepatoscopy is one of the clearest examples of cultural contact in the orien talizing period. It must have been a case of East-West understanding on a relatively high, technical level. The mobility of migrant charismatics is the natural prerequisite for this diffusion, the international role of soughl-afler specialists, who were, as far as their art was concerned, nevertheless bound to their father-teachers. We cannot expect to find many archaeologically identifiable traces of such people, other than some excep tional instances."1 1. Introduction Walter Burkert's theory of freely moving craftsmen of verbal art and ritual tech nology bringing stories and magico-religious practices to the west in the orientaliz ing period (750-650 BCE) has caught the imagination of Classical scholars and been given great explanatory power in subsequent discussions of textual and cul turallinks across the Mediterranean. By simply referring to the theory as a given, Classical scholars have been able to avoid the questions of why and how, and to move directly to a discussion of the motifs or practices under consideration, using the Near Eastern sources to analyze Greek cultural artifacts. A re-examination of Burkert's theory as a whole and his interpretation of its component parts is certain lyoverdue. Key to Burkert's argument concerning the role of itinerant diviners transmit ting cultural features is the shared practice of liver divination. He argues, first, that parallels in the terminology of Greek and Akkadian hepatoscopy are evidence that the Greek hepatoscopic tradition was influenced directly by the Mesopotamian practice; secondly, he sees the bronze liver model found at Piacenza in Italy as directly related to the second-millennium Near Eastern liver models (he does not discuss the uninscribed terra cotta liver from Falerii Veteres); and finally, he argues that "migrant charismatics" brought the practice to the west. -
Hammond2009.Pdf (13.01Mb)
Postgraduate Programmes in the SCHOOL of HISTORY, CLASSICS and ARCHAEOLOGY The Iconography of the Etruscan Haruspex Supervisor: Name: Sarah Hammond Dr Robert Leighton 2009 SCHOOL of HISTORY, CLASSICS and ARCHAEOLOGY DECLARATION OF OWN WORK This dissertation has been composed by Sarah Hammond a candidate of the MSc Programme in MScR, Archaeology, run by the School of History, Classics and Archaeology at the University of Edinburgh. The work it represents is my own, unless otherwise explicitly cited and credited in appropriate academic convention. I confirm that all this work is my own except where indicated, and that I have: Clearly referenced/listed all sources as appropriate Referenced and put in inverted commas all quoted text of more than three words (from books, web, etc) Given the sources of all pictures, data etc. that are not my own Not made any use of the essay(s) of any other student(s) either past or present Not sought or used the help of any external professional agencies for the work Acknowledged in appropriate places any help that I have received from others (e.g. fellow students, technicians, statisticians, external sources) Complied with any other plagiarism criteria specified in the Course handbook I understand that any false claim for this work will be penalised in accordance with the University regulations Signature: Name (Please PRINT): SARAH HAMMOND Date: 22/06/2009 The Iconography of the Etruscan Haruspex by Sarah Naomi Hammond MSc by Research, Archaeology The University of Edinburgh 2009 Word count: 25,000 Abstract The religious rituals of the Etruscans incorporated several forms of divination including the practices of extispicy and hepatoscopy, the arts of divining through the examination of sacrificed animal entrails, and specifically the liver. -
Luce in Contesto. Rappresentazioni, Produzioni E Usi Della Luce Nello Spazio Antico / Light in Context
Light in Antiquity: Etruria and Greece in Comparison Laura Ambrosini Abstract This study discusses lighting devices in Etruria and the comparison with similar tools in Greece, focusing on social and cultural differences. Greeks did not use candlestick- holders; objects that have been improperly identified ascandelabra should more properly be classified as lamp/utensil stands. The Etruscans, on the other hand, preferred to use torchlight for illumination, and as a result, the candelabrum—an upright stand specifically designed to support candles — was developed in order to avoid burns to the hands, prevent fires or problems with smoke, and collect ash or melting substances. Otherwise they also used utensil stands similar to the Greek lamp holders, which were placed near the kylikeion at banquets. Kottaboi in Etruria were important utensils used in the context of banquets and symposia, while in Greece, they were interchangeable with lamp/utensil stands. Introduction Light in Etruria1 certainly had a great importance, as confirmed by the numerous gods connected with light in its various forms (the thunderbolt, the sun, the moon, the dawn, etc.).2 All the religious doctrines and practices concerning the thunderbolt, the light par excellence, are relevant in this concern. Tinia, the most important god of the Etruscan pantheon (the Greek Zeus), is often depicted with a thunderbolt. Sometimes also Menerva (the Greek Athena) uses the thunderbolt as weapon (fig. 1), which does not seem to be attested in Greece.3 Thesan was the Etruscan Goddess of the dawn identified with the Greek Eos; Cavtha is the name of the Etruscan god of the sun in the cult, while Usil is the sun as an appellative or mythological personality. -
Etruscan News 20
Volume 20 20th ANNIVERSARY ISSUE Winter 2018 XXIX Conference of Etruscan and of Giacomo Devoto and Luisa Banti, Italic Studies and where he eventually became Luisa L’Etruria delle necropoli Banti’s successor as Professor of Etruscan Studies at the University of rupestri Florence. Tuscania-Viterbo For twenty years he was the October 26-28, 2017 President of the National Institute of Reviewed by Sara Costantini Etruscan and Italic Studies, with me at his side as Vice President, and for ten From 26 to 28 October, the XXIX years he was head of the historic Conference of Etruscan and Italic Etruscan Academy of Cortona as its Studies, entitled “The Etruria of the Lucumo. He had long directed, along- Rock-Cut Tombs,” took place in side Massimo Pallottino, the Course of Tuscania and Viterbo. The many schol- Etruscology and Italic Antiquities of the ars who attended the meeting were able University for Foreigners of Perugia, to take stock of the new knowledge and and was for some years President of the the problems that have arisen, 45 years Lexicon Iconographicum Mythologiae after the first conference dedicated to Classicae (LIMC), for which he wrote interior Etruria. The first day’s activi- more than twenty entries. ties, which took place in the Rivellino Cortona, member of the Accademia dei Giovannangelo His activity as field archaeologist Theater “Veriano Luchetti” of Tuscania, Lincei and President of the National Camporeale included the uninterrupted direction, with excellent acoustics, had as their Institute of Etruscan and Italic Studies; 1933-2017 since 1980, of the excavation of the main theme the historical and archaeo- he died on July 1 of this year. -
Le Parole Etrusche Ame, Amce E La Revisione Di Ie. *Yem- ‘Paaren’
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Emerita (E-Journal) LE PAROLE ETRUSCHE AME, AMCE E LA REVISIONE DI IE. *YEM- ‘PAAREN’ ADOLFO ZAVARONI The main purpose of this article is to demonstrate the groundlessness of the old and common thesis according to which Etr. ame, amuke, amce are parts of the verb “to be”. We can search for the true meaning of these words with the help of the so-called “comparative method”, a method that, in the last few decades, did not enjoy its due share of attention. My underlying thesis is that Etruscan, although not being an Indo-European language, has many IndoEuropean stems, which it acquired during many centuries of contacts. The comparative method might be of help just provided we strictly stick to the rules that define the phonological system of Etruscan (in the present work I present the system of the stops only). –– The term am(u)ce indicates ‘to be united, to make a pair with, co-’. In fact, amce is mainly found in connection with the words puia ‘wife’ and zilaθ (magistracy constituted by two or more persons). In extant inscriptions, we also find twice the word ame connected to puia, yet in most cases ame is a particle placed after the verb, where it fulfills the same function of the latin preverb cum, co-. As an example, in the Tabula Cortonensis the words eprus ame mean ‘co-operantur, (they) sacrifice together’. Moreover, there are five occurrences of the particle ama connected with the word ipa. -
Miscellanea Mediterranea •
MISCELLANEA MEDITERRANEA • Archaeologia T ransatlantica XVIII edited by R. Ross Holloway CENTER FOR OLD WORLD ARCHAEOLOGY AND ART BROWN UNIVERSITY PROVIDENCE. RHODE ISLAND 2000 Contents Preface .............•............................................vii by R. Ross Holloway The Sanctuary of Hercules-Melkart at Gades and the Arabic Sources .......... by William E. Mierse Iberian Warrior Figurines and the Warrior Image in Western Mediterranean Sculpture. • . • . .. 11 by Joseph J. Basile Etruscan Sigla eGraffid"): Prolegomena and Some Case Studies. • . .. 25 by Nancy T. de Grurnmond, Ceil Bare and Amy Meilleur Hera, Hieros Gamos and the Chora of Poseidoni a ...................... " 39 by Naomi J. Norman An Unidentified Italic 'Touta' in Southern Italy ......................•... 49 by Maurizio Gualtieri Financing and Design: The Development of the Parthenon Program and the Partheno.n Building Accounts ............................... 61 by Spencer A. Pope Theseus in South Metope 16 of the Parthenon ..........•................ 71 by Crispin Corrado Goulet The Mutilation ofStatuary in Classical Greece .....•................... " 77 by R. Ross Holloway MATIKOI KATM.EI:MOI or Binding Curse Tablets: A Journey on the Greek Dark Side . • . .. 83 by Christofilis Maggidis Boukephalas . • • . .. 101 by RolfWinkes The Roman-Byzantine dwelling in the Galilee and the Golan: "House.. or "An"'f'artment ") . .............................•....... 109 by Katharina Galor The Authors ..............••..........•.....•....•.............. 125 v F ETRUSCAN SIGLA -
The Conception of Time Among the Etruscans
The conception of time among the Etruscans Marjatta Nielsen It belongs to the haphazards of the survival of the classical tradition that anything at all has been transmitted to us about the conception of time among the Etruscans. After their culture and language vanished, there was no need to keep copying the first-hand records written in the Etruscan language throughout the centuries. Yet, through Roman writers we do have some information about the Etruscan doctrines regarding the division of time and space.1 The most important source about these matters is the Roman grammarian Censorinus' de die natali, written in 238 AD. Fortunately, he painstakingly followed reliable sources, among others, Varro's Tuscae historiae, which were probably based on first-hand Etruscan information. 1 On disciplina etrusca, CO. Thulin, Die etruskische Disciplin 1-3, (Göteborgs Högskolas Arsskrif 1906-1909); more accessible, A.J. Pfiffig, Die etruskische Religion (Graz 1975, reprinted in Wiesbaden 1998) esp. 36-43; about the doctrine of saecula, 159-161. On p. 161 Pfiffig proposes to change the saeculum accounts, bringing the lOth saeculum to an end already in 83 BC, in order to get them fit better to his ideas about the Etruscan history. But there is no need of changing the sources, which conform almost too well with the historical realities. Further, M. Pallottino, The Etruscans (Harmondsworth, ed. 1978), 138-152; A. Maggiani, in: Gli Etruschi, una nuova immagine, ed. M. Cristofani et.al. (Firenze 1984) 136- 151; many contributions in Etrusca disciplina - Culti stranieri in Etruria, Relazioni nei convegni del 1987 e del 1988, Annali della Fondazione per il Museo 'Claudio Faina' 5 (Orvieto 1998); Les Étrusques, les plus religieux des hommes, Actes du colloque international Galeries nationales du Grand Palais 1992 eds. -
The Tabula Cortonensis and Land Transactions
THE TABULA CORTONENSIS AND LAND TRANSACTIONS Recently R. A. Wallace has dedicated a chapter of his book ‘Zikh Rasna. A Manual of Etruscan Language and Inscriptions' (2008) to the inscription of the bronze Tabula Cortonensis\ The Tablet of Cortona, hereafter TCo, was handed in by a carpenter to the Carabinieri at Camucia (Cortona) in 1992. The editio princeps was published by L. Agostiniani and F. Nicosia in 2000. The text is extremely important since it is, after the Liber linteus Zagrabiensis and the Tabula Capuana, the third longest extant Etruscan text (206 words; 32 lines on side A and 8 lines on side B). It is, however, difficult to interpret and translate for lexical, morphological, grammatical, and syntactical reasons. Wallace’s tentative translation of the text is based on interpretations and translations advanced by Agostiniani and Nicosia (2000), H. Rix (2000, 2002), G. Μ. Facchetti (2000, 2002b), A. Maggiani (2001, 2002b), V. Scarano Ussani and Μ. Torelli (2003), K. Wylin (2002a, 2006b) and I.-J. Adiego (2005). The publications of C. De Simone (1998-2007), P. Amann (2005), Wylin (2005) and Torelli (2005) were not used by Wallace. It appears that there is no consensus on the meaning(s) of about half of the sixty different non- onomastic lexical units, many of which are or look like hapax legomena. This article aims to detect their semantic values from the textual context and with the use of the combinatory method, that is, by comparing words in the TCo text with those in the corpus of ca 11,000 Etruscan inscriptions. Some words and syntagmata will also be studied from a chrono-typological, interlinguistic, etymological, and contemporary, bicultural perspective (e.g. -
Ucl Institute of Archaeology Arcl0070 the Archaeology
UCL INSTITUTE OF ARCHAEOLOGY 1 ARCL0070 THE ARCHAEOLOGY OF ETRUSCAN ITALY 2018-2019 Year 2/3 Module, 15 credits Turnitin Class ID: 3884530 Turnitin Password: IoA1819 Deadlines for coursework for this module: Monday 26 November 2018; Friday 11th January 2019 Target dates for return of marked coursework to students: 13th December 2018; 11th February 2019 Coordinator: Dr. Corinna Riva Room: 406; Telephone: 07679 7536 Email: [email protected] Please see the last page of this document for important information about submission and marking procedures, or links to the relevant webpages. 1 Roselle (Grosseto) 1 | Page 1. OVERVIEW Module contents: Etruria is no longer known exclusively through its cemeteries, nor can it be studied in isolation from its neighbours, Rome and other Italic regions. Through archaeological and landscape surveys and new excavations, we have today a detailed picture within which to place the enormous wealth of archaeological material. Attention is now devoted to a whole range of study areas, from urban settlements, to aristocratic residences and small farms, and sanctuaries. More importantly, we are now in a position to situate Etruria and Central Italy at the centre of an increasingly vibrant context of cultural interaction within the Mediterranean. The module is organized through thematic lectures (death, social and economic landscapes, production and trade, urbanism and social complexity, religion and symbolism), but is also chronologically progressive from the beginning of the Iron Age or Villanovan period (c. 1000 BC) to the Roman period (c. 2nd century BC) with particular emphasis on the Iron Age and Archaic period. The material culture will be explored from multiple points of view (socio-cultural, economic, political, ritual and symbolic) in order to provide the students with analytical tools as well as knowledge of the material. -
Urban Palimpsest
• Palimpsest • A parchment, etc. that has been written more than once, the previous texts having been imperfectly erased and remaining still partially visible. • Urban palimpsest Capitoline Hill and surrounding area Edward Gibbon, The Decline and Fall of the Roman Empire, 1776- 1788 • “It was at Rome, on the 15th of October, 1764, as I sat musing amidst the ruins of the Capitol, while the bare-footed fryars were singing Vespers in the temple of Jupiter, that the idea of writing the decline and fall of the City first started to my mind.” • La Dolce Vita • Federico Fellini (1960) • What is the palimpsestal image in the opening scene? • What story is being told about Rome and what tensions does it contain? Rome and its tensions (for Livy and beyond) • Palimpsest • (Re)foundings • Problems with greatness: ambition and wealth (vice) • Mores maiorum and exemplum virtutis: ways of the ancestors and examples of virtue (virtus, pietas, gravitas) • Public vs. private (gender issues) • Conservative society: innovation through accretion • Growth through incorporation of others (tensions of a multicultural society). • Horace: Graecia capta ferum victorem cepit et artes intulit agresti Latio Iron age cultures in central Italy, c. 1000- 800 BC -development of “material culture” --graves = “closed find deposits” Latial hut urn from Rome Etruscan hut urn from Vulci Palatine Hill, hut post holes, mid-8th century BCE Etruscan, Greek and Phoenician territories in 8th-6th centuries (orientalizing period in Etruscan art) Golden fibula, Cerveteri, Regolini-Galassi -
The Etruscan Thalassocracy
The Etruscan Thalassocracy: Exploring Maritime Motifs and Dionysian Imagery in Etruscan Tomb Painting and on Imported Greek Pottery Jesse B. Duncan Undergraduate Honors Thesis Department of Art History University of Colorado | Boulder Date of Defense April 1st, 2020 Thesis Advisor Dr. Diane Conlin | Classics Committee Members Dr. Robert Nauman | Honors Chair | Art History Dr. Fernando Loffredo | Art History Dr. Elspeth Dusinberre | Classics 1 Dedicated To Professor Elspeth Dusinberre with my deepest gratitude to push me to commence this academic journey without your compassion this thesis would have never came to fruition Professor Diane Conlin with my utmost admiration and gratitude for supporting me along this extensive and engaging project I thank you My sweetest sunflower Jezzlynn Rae may your light shine on continuing to spread happiness and joy especially during troubling times 2 Abstract The Etruscans were an ancient Mediterranean culture who were and still are remembered as a thalassocracy, a dominant maritime force. However, their visual identity as represented in their art did not emphasize their naval dominance through traditional nautical imagery. A survey of Etruscan art reveals that the only surviving depiction of ship is from an Etruscan tomb, the Tomb of the Ship, and leads to the central question of this thesis: why are there so few images of ships in the art of a culture known for its thalassocracy? After an analysis of the Homeric myth of the Etruscan pirates capturing Dionysus, as well as Greek-made pottery found in Etruria along with Etruscan tomb frescos, several motifs related to both marine life and activities occur alongside repetitive Dionysian imagery. -
Mares, Maris, Mars, and the Archaic Gods
MARES, MARIS, MARS, AND THE ARCHAIC GODS (Con la tav. XXXVIII f. t.) This article will be an interpretation of an old myth about a centaur Maris and an attempt at showing his place in the world of the archaic gods .* It can be said in general that the archaic Mediterranean peoples’ concept of life and death was different from that of the classical world. Their gods were different. Many of the important ones were what we call chthonic or chthonian, for the want of a better name. Chthonic, according to Webster’s Dictionary, is said of a divinity or spirit, dwelling or reigning in the underworld. However, most of those that interest us here could live in either world or commute between the two worlds. Those gods were plentiful in the Minoan, the old Roman, and the old Etruscan world. The first step must, of necessity, be an examination of the Maris myth, Se- condly, a characterization of the divinities with whom Maris was associated will reveal his nature. Thirdly, it will be timely to look at him in a larger environment. A natural point of departure is a recent article by Erika Simon « Il dio Marte nell’arte dell’Italia Centrale » *. This article is not a discussion of Mars in the art of Central Italy, as the title seems to indicate; it is rather an attempt at interpreting a picture on the side of a late 4th century Praenestine cista 2. * Besides the usual abbreviations <BCH, CIL, CIE, PW, etc.) these abbreviations are used: Bayet: J. Bayet, Herclé, Paris 1926.