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Szepessymaster.Pdf (713.9Kb) The Marriage Maker The Pergamon Hermaphrodite as the God Hermaphroditos, Divine Ideal and Erotic Object Victor Ljunggren Szepessy Master of Arts Thesis in Art History Faculty of Humanities Department of Philosophy, Classics, History of Art and Ideas Advisors: Sven Ahrens & Lena Liepe University of Oslo Spring 2014 Abstract The Pergamon Hermaphrodite depicts the god Hermaphroditos, an image that stands for the idea of marriage, fertility, heterosexual union, and civilization. Textual evidence in the form of the recently uncovered Salmacis Inscription, and an extensive iconography of 175 images corroborate this identity. The Pergamon Hermaphrodite is a document of a Hellenistic religious attitude, which forms part of the large artistic programme of The Great Altar at Pergamon. The Hellenistic World gives rise to a change in form expressed by the eroticised aesthetics of the divine cult statue, emphasizing the feminine shape due to the prominence of heterosexual marriage and increased participation of women in society. The Pergamon Hermaphrodite combines this with a pederastic eroticism and static calm, keeping one foot in the Classical past. Acknowledgements I would like to give special thanks to my advisors, Sven Ahrens and Lena Liepe, who tirelessly read and re-read all the material I sent them, and unfailingly produced commentaries that lifted the project a level or two. I imagine they never knew they would be this committed to hermaphrodites. It's been a real pleasure and the experience of a lifetime to work with two such astute academic minds. My warmest thanks to Aileen Ajootian who provided me with an introductory bibliography on hermaphrodite sculpture in Antiquity, when I wrote to her regarding her dissertation. Thank you to Anastasia Maravela for the help with sources in Ancient Greek. Thank you to Patricia Berman for the discussions regarding the human body in public art, book recommendations, and for allowing me to develop my specialist interests as part of the course. I am very grateful to IFIKK and UiO for the stipend I received to complete my final semester, which allowed me to purchase essential books, and make crucial trips to libraries. A big “thank you” to Pia Søndergaard for the much needed administrative support. Thank you mum and dad, Margaret Ljunggren and Andrew Szepessy, for believing I had something to say, and to the former for all types of sustenance along the way. Thank you, Turid Dankertsen, for muffins, coffee, and positive encouragement. Thank you to friends and fellow students for fruitful discussions. And saving the best for last, thank you Emma Marie Brunsell Dankertsen, who knows: χαλεπὰ τὰ καλά Contents Chapter 1. Overview, Method and Theory............................................................................1 Introduction................................................................................................................................2 Thesis Structure..........................................................................................................................2 Definitions and Problems...........................................................................................................3 Previous Research......................................................................................................................7 Panofsky: Iconology and Iconography.....................................................................................11 Terminology..............................................................................................................................18 Chapter 2. The Pergamon Hermaphrodite: a Representation of Hermaphroditos...........22 Introduction...............................................................................................................................22 The Statue.................................................................................................................................22 Dating.......................................................................................................................................24 Posture......................................................................................................................................25 Is The Pergamon Hermaphrodite, Hermaphroditos?...............................................................27 Summary..................................................................................................................................30 Chapter 3. Sources: Hermaphroditos and Textual Evidence.............................................31 Introduction...............................................................................................................................31 Ovid's Metamorphosis...............................................................................................................32 The Salmacis Inscription...........................................................................................................32 Other Ancient Sources on the Salmacis Spring........................................................................35 Interpretations of the Salmacis Inscription...............................................................................36 Literary References to Hermaphroditos and Hermaphrodite Sculpture....................................40 Summary...................................................................................................................................43 Chapter 4. Iconography: Hermaphroditos and Hermaphrodite Statuary........................45 Introduction...............................................................................................................................45 Hermaphrodite Iconography.....................................................................................................45 Copies and Originals.................................................................................................................46 The Sleeping Hermaphrodite....................................................................................................47 The Standing Hermaphrodite....................................................................................................48 The Wrestling Group.................................................................................................................51 Nakedness.................................................................................................................................51 Ithuphallikos..............................................................................................................................53 Summary...................................................................................................................................54 Chapter 5. Myths, Cults, and Rituals: The Pergamon Hermaphrodite and the Religious and Political Sphere ...............................................................................................................55 Introduction...............................................................................................................................55 Public Art in the Hellenistic Era...............................................................................................56 The Cultural Context of Pergamon...........................................................................................57 The Great Altar at Pergamon....................................................................................................59 Cults in Asia Minor...................................................................................................................62 Dual-sexed Gods as Gods of Marriage.....................................................................................66 Summary...................................................................................................................................69 Chapter 6. Divine Function and Erotic Aesthetics: Hermaphroditos Respresented by The Pergamon Hermaphrodite................................................................................................70 Introduction...............................................................................................................................70 The Body...................................................................................................................................70 Marriage and Structures of Power.............................................................................................72 Models of Sex...........................................................................................................................74 “True Sex”.................................................................................................................................76 Desire and Erotic Ideals: Male versus Female..........................................................................79 Summary...................................................................................................................................81 Conclusion................................................................................................................................82 Bibliography..............................................................................................................................83 Glossary of Greek and Latin Terms..........................................................................................91 Illustrations Chapter 1. Overview, Method
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