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Etruscans in the Context of European Identity
Phasis 15-16, 2012-2013 Ekaterine Kobakhidze (Tbilisi) Etruscans in the Context of European Identity The so-called cultural factor has a decisive role in European identity. It is common knowledge that the legacy of Antiquity made a significant contribution to shape it. Numerous fundamental studies have been devoted to the role of the ancient civilisation in the formation of European culture. However, the importance of the cultures, which made their contributions to the process of shaping European identity by making an impact on the ancient Greek and Roman world directly or via Graeca or via Roma, have not been given sufficient attention. In this regard, the Etruscan legacy is one of the most noteworthy. Pierre Grimal wrote in this connection that the Etruscan civilisation “played the same role ... in the history of Italy as the Cretan civilisation played in shaping the Greek world.“1 At the same time, the Etruscan civilisation proper emerged based on the archaic roots of Mediterranean cultures and, becoming, like the Greek civilisation, the direct heritor of the so-called Mediterranean substratum, which it elevated to new heights thanks to its own innovations and interpretations, it fulfilled an important function of a cultural mediator in the history of the nations of the new world. This is precisely what Franz Altheim meant, noting that “the importance of the Etruscan civilisation lies first and foremost in its cultural mediation.”2 As noted above, in addition, Etruscans introduced a lot of innovations and it is noteworthy that they were made in numerous important spheres, which we are going to discuss in detail below. -
The Cities and Cemeteries of Etruria
Universitäts- und Landesbibliothek Tirol The cities and cemeteries of Etruria Dennis, George 1883 Chapter XV Bombarzo urn:nbn:at:at-ubi:2-12107 CHAPTER XV. BOHABZO. Miremur periisse homines ?—monnmenta fatiscunt, Mors etiam saxis nominibusque venit .—Ausonius. Ecce libet-pisces Tyrrhenaque monstra Dicere. Ovid. About twelve miles east of Viterbo, on the same slope of the Ciminian, is the village of Bomarzo, in the immediate neighbour¬ hood of an Etruscan town where extensive excavations have been made. The direct road to it runs along the base of the mountain, but the excursion may be made more interesting by a detour to Fdrento, which must be donfe in the saddle, the road being quite impracticable for vehicles. From Ferento the path leads across a deep ravine, past the village of Le Grotte di Santo Stefano, whose name marks the existence of caves in its neighbourhood,1 and over the open heath towards Bomarzo. But before reaching that place, a wooded ravine, Fosso della Vezza, which forms a natural fosse to the Ciminian, has to be crossed, and here the proverb —Chi va piano va sano —must be borne in mind. A more steep, slippery, and dangerous tract I do not remember to have traversed in Italy. Stiff miry clay, in which the steeds will anchor fast ; rocks shelving and smooth-faced, like inclined planes of ice, are the alternatives. Let the traveller take warning, and not pursue this track after heavy rains. It would be advisable, especially if ladies are of the party, to return from Ferento to Viterbo, and to take the direct road thence to Bomarzo. -
Crossing Boundaries: a Gendered Reinterpretation of Etruscan Demons
Crossing Boundaries: A Gendered Reinterpretation of Etruscan Demons Although epigraphic evidence attests to the existence of the winged death-goddess, Vanth, as early as the seventh century B.C.E., figurative depictions of other Etruscan demons were not common until the fourth century. Thereafter, demons played a variety of different roles in the Etruscan funerary record. Their portrayal as chthonic beings is seen when they are integrated into Greek mythological narratives in tomb paintings, funerary statuary and cinerary urns. Demons also performed a psychopomp role in tomb paintings and on sarcophagi, where they are often shown alongside Etruscan elites, as on the long front panel of the Sarcophagus of Arnth Tetnies and Ramtha Vishnai, c. 450-400. Standing in the center, Tetnies is present leaning on a walking stick. Standing to his left is his wife, Ramtha Vishnai (Rowland 2008). On the left short side of this same sarcophagus, Vishnai is shown again riding in a horse led cart as she is being greeted by a female demon. Presumably, one can imagine how Tetnies and Vishnai became reunited due to the intervention of the demon herself. Finally, demons functioned as guardians of the tomb space as seen in statuary from the grave complex, Greppe Sant’Angelo in Cerveteri, as well as multiple painted depictions in tombs at Tarquinia. The sexuality and gender of male and female demons are equally complex issues. Both male and female demons are often depicted in a manner that at once emphasizes their physical sex characteristics but destabilizes the social construction of the gendered body. For example, the figure of Vanth is often portrayed with bare breasts or with genitalia exposed. -
Saevae Memorem Iunonis Ob Iram Juno, Veii, and Augustus
Acta Ant. Hung. 55, 2015, 167–178 DOI: 10.1556/068.2015.55.1–4.12 PATRICIA A. JOHNSTON SAEVAE MEMOREM IUNONIS OB IRAM JUNO, VEII, AND AUGUSTUS Arma virumque cano, Troiae qui primus ab oris Italiam, fato profugus, Laviniaque venit litora, multum ille et terris iactatus et alto vi superum saevae memorem Iunonis ob iram. Aen. I 1–4 Summary: A driving force in Vergil’s Aeneid is the hostility of Juno to the Trojans as they approach, and finally arrive in Italy. The epic in some ways mirrors the opposition encountered by Augustus as the new ruler of Rome. Juno’s opposition to the Trojans has its origin not only in Greek mythology, but in the his- tory of the local peoples of Italy with whom early Romans had to contend. From the outset of the poem she becomes the personification of these opposing forces. Once the Trojans finally reach mainland Italy, she sets in motion a long war, although the one depicted in the Aeneid was not as long as the real wars Ro- mans waged with the Latin League and with the many of the tribes of Italy, including the Veii. The reality of the wars Rome had to contend with are here compared to the relatively brief one depicted in the Aeneid, and the pacification of Juno reflects the merging of the different peoples of Rome with their subjugator. Key words: Juno, saeva, MARS acrostic, Etruscan Uni, evocatio, Veii, Fidenae, Aventinus, Gabii, Prae- neste, Tibur, Tanit, Saturnia, Apollo, Cumae and Hera, asylum, Athena, Aeneas, Anchises’ prophecy An important part of Augustan Myth is found in Vergil’s depiction of Juno, who is named in the opening lines of the epic and is a persistent presence throughout the poem. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
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. -
Further Commentary Notes
Virgil Aeneid X Further Commentary Notes Servius, the author of a fourth-century CE commentary on Virgil is mentioned several times. Servius based his notes extensively on the lost commentary composed earlier in the century by Aelius Donatus. A version of Servius, amplified by material apparently taken straight from Donatus, was compiled later, probably in the seventh or eighth century. It was published in 1600 by Pierre Daniel and is variously referred to as Servius Auctus, Servius Danielis, or DServius. Cross-reference may be made to language notes – these are in the printed book. An asterisk against a word means that it is a term explained in ‘Introduction, Style’ in the printed book. A tilde means that the term is explained in ‘Introduction, Metre’ in the printed book. 215 – 6 In epic, descriptions of the time of day, particularly dawn, call forth sometimes surprising poetic flights. In Homer these are recycled as formulae; not so in Virgil (for the most part), although here he is adapting a passage from an earlier first- century epic poet Egnatius, from whose depiction of dawn seems to come the phrase curru noctivago (cited in Macrobius, Sat. 6.5.12). This is the middle of the night following Aeneas’s trip to Caere. The chronology of Books VIII – X is as follows: TWO DAYS AGO Aeneas sails up the Tiber to Evander (VIII). NIGHT BEFORE Aeneas with Evander. Venus and Vulcan (VIII). Nisus and Euryalus (IX). DAY BEFORE Evander sends Aeneas on to Caere; Aneneas receives his armour (VIII). Turnus attacks the Trojan camp (IX, X). -
Why We're All Romans
Why We’re All Romans Why We’re All Romans The Roman Contribution to the Western World Carl J. Richard ROWMAN & LITTLEFIELD PUBLISHERS, INC. Lanham • Boulder • New York • Toronto • Plymouth, UK Published by Rowman & Littlefield Publishers, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.rowmanlittlefield.com Estover Road, Plymouth PL6 7PY, United Kingdom Distributed by National Book Network Copyright © 2010 by Rowman & Littlefield Publishers, Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Richard, Carl J. Why we’re all Romans : the Roman contribution to the Western world / Carl J. Richard. p. cm. Includes bibliographical references and index. ISBN 978-0-7425-6778-8 (cloth : alk. paper) — ISBN 978-0-7425-6780-1 (electronic) 1. Rome—Civilization—Influence. 2. Civilization, Modern—Roman influences. 3. Rome—History. I. Title. DG77.R53 2010 937—dc22 2009043889 ™ ϱ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America In memory -
Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century Bce
ARCHAEOLOGICAL AND LITERARY ETRUSCANS: CONSTRUCTIONS OF ETRUSCAN IDENTITY IN THE FIRST CENTURY BCE John B. Beeby A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2019 Approved by: James B. Rives Jennifer Gates-Foster Luca Grillo Carrie Murray James O’Hara © 2019 John B. Beeby ALL RIGHTS RESERVED ii ABSTRACT John B. Beeby: Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century BCE (Under the direction of James B. Rives) This dissertation examines the construction and negotiation of Etruscan ethnic identity in the first century BCE using both archaeological and literary evidence. Earlier scholars maintained that the first century BCE witnessed the final decline of Etruscan civilization, the demise of their language, the end of Etruscan history, and the disappearance of true Etruscan identity. They saw these changes as the result of Romanization, a one-sided and therefore simple process. This dissertation shows that the changes occurring in Etruria during the first century BCE were instead complex and non-linear. Detailed analyses of both literary and archaeological evidence for Etruscans in the first century BCE show that there was a lively, ongoing discourse between and among Etruscans and non-Etruscans about the place of Etruscans in ancient society. My method musters evidence from Late Etruscan family tombs of Perugia, Vergil’s Aeneid, and Books 1-5 of Livy’s history. Chapter 1 introduces the topic of ethnicity in general and as it relates specifically to the study of material remains and literary criticism. -
Etruscan News 19
Volume 19 Winter 2017 Vulci - A year of excavation New treasures from the Necropolis of Poggio Mengarelli by Carlo Casi InnovativeInnovative TechnologiesTechnologies The inheritance of power: reveal the inscription King’s sceptres and the on the Stele di Vicchio infant princes of Spoleto, by P. Gregory Warden by P. Gregory Warden Umbria The Stele di Vicchio is beginning to by Joachim Weidig and Nicola Bruni reveal its secrets. Now securely identi- fied as a sacred text, it is the third 700 BC: Spoleto was the center of longest after the Liber Linteus and the Top, the “Tomba della Truccatrice,” her cosmetics still in jars at left. an Umbrian kingdom, as suggested by Capua Tile, and the earliest of the three, Bottom, a warrior’s iron and bronze short spear with a coiled handle. the new finds from the Orientalizing securely dated to the end of the 6th cen- necropolis of Piazza d’Armi that was tury BCE. It is also the only one of the It all started in January 2016 when even the heavy stone cap of the chamber partially excavated between 2008 and three with a precise archaeological con- the guards of the park, during the usual cover. The robbers were probably dis- 2011 by the Soprintendenza text, since it was placed in the founda- inspections, noticed a new hole made by turbed during their work by the frequent Archeologia dell’Umbria. The finds tions of the late Archaic temple at the grave robbers the night before. nightly rounds of the armed park guards, were processed and analysed by a team sanctuary of Poggio Colla (Vicchio di Strangely the clandestine excavation but they did have time to violate two of German and Italian researchers that Mugello, Firenze). -
4 High Priests, Aged 8 and up Tarchna, Italian Peninsula, VI
A game of glorious paths for 2 - 4 high priests, aged 8 and up Tarchna, Italian peninsula, VI century B.C. The Etruscan haruspexes’ predictions are unanimous: their civiliza- tion is about to end. On the Tagete’s day, the high priests decide to use the sacred ritual of foundation to turn the sparse huts known as ‘Ruma’ into a city. That village will later know great fame, with its more famous name: Rome! Which Etruscan divinity should govern the new city? In order to make a decision, the oracles devoted to the four Etruscan divinities Achvizr, Leinth, Alpan and Thalna will walk a purification path towards the Velthumena altar, where each will honour the divinity he serves. However, someone could devote his temple to the ancient Tuchulcha to eliminate the haruspexes and cancel the ritual! Will there be anyone brave enough to devote his temple to Lasa Vecuvia, the eternal rival of Tuchulcha, in order to bring back the peace? CONTENTS • A double sided board The sanctuary of Tuchulcha, surrounded by the forest One of the temples of the Etruscan divinities The purification path of the haruspexes: this is the continuous path formed by spaces (the stones), on which the haruspexes walk Velthumena, the goal of the haruspexes The sanctuary of Lasa Vecuvia (only used with 4 players) the board for 3 players the board for 2 or 4 players • 36 haruspexes in four colours (9 each of blue, red, yellow, black) • 4 dices • 4 seals • these rules. OBJECT OF THE GAME Each player is a high priest controlling a temple devoted to one of the four Etruscan divinities: Achvizr (represented by red), Leinth (black), Alpan (blue) and Thalna (yellow). -
Classical Myth-Rom Bklt.Qxd
CLASSICAL MYTHOLOGY : THE ROMANS COURSE GUIDE Professor Peter W. Meineck NEW YORK UNIVERSITY Classical Mythology: The Romans Professor Peter Meineck New York University Recorded Books ™ is a trademark of Recorded Books, LLC. All rights reserved. Classical Mythology: The Romans Professor Peter Meineck Executive Producer John J. Alexander Executive Editor Donna F. Carnahan RECORDING Producer - David Markowitz Director - Matthew Cavnar COURSE GUIDE Editor - James Gallagher Design - Edward White Lecture content ©2005 by Peter Meineck Course guide ©2005 by Recorded Books, LLC 72005 by Recorded Books, LLC Cover image: Statue of Jupiter, Rome © Clipart.com #UT066 ISBN: 978-1-4193-4990-4 All beliefs and opinions expressed in this audio/video program and accompanying course guide are those of the author and not of Recorded Books, LLC, or its employees. Course Syllabus Classical Mythology: The Romans About Your Professor ................................................................................................... 4 Introduction ................................................................................................................... 5 Lecture 1 Mythological Rome ................................................................................ 6 Lecture 2 The Making of Myth: How the Romans Recorded Their Mythology ................................................................................... 11 Lecture 3 Greek Myths and the Romans: Cacus, Hercules, and the Greeks in Italy ...............................................................................