The Etruscans produced some of the most refined and elaborate pieces of jewellery in the ancient Mediterranean. While Etruscan jewellery is often interpreted as a sign of luxury, and prestige or as a means of legitimisation, the aim of this article is to show the communicative potential and function of adornment. In particular, what was the aim of such adornment in ritual performances and was there a gendered distinction between the jewellery worn by dancers? Did they have a sensory impact in dance? Based on visual evidence of dance from central Etruria from the sixth and fifth centuries BC, this article will focus on the sound these items could have produced. It appears that belts, bracelets, necklaces, earrings, and diadems added to the male and female body highlighted, shaped, and performed gender, identity, and status; however, they could also blur, transform, and reverse them.
{"title":"Gendered adornment and dress soundscape in Etruscan dance","authors":"Audrey Gouy","doi":"10.5617/acta.10437","DOIUrl":"https://doi.org/10.5617/acta.10437","url":null,"abstract":"The Etruscans produced some of the most refined and elaborate pieces of jewellery in the ancient Mediterranean. While Etruscan jewellery is often interpreted as a sign of luxury, and prestige or as a means of legitimisation, the aim of this article is to show the communicative potential and function of adornment. In particular, what was the aim of such adornment in ritual performances and was there a gendered distinction between the jewellery worn by dancers? Did they have a sensory impact in dance? Based on visual evidence of dance from central Etruria from the sixth and fifth centuries BC, this article will focus on the sound these items could have produced. It appears that belts, bracelets, necklaces, earrings, and diadems added to the male and female body highlighted, shaped, and performed gender, identity, and status; however, they could also blur, transform, and reverse them.","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117237494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Research on the re-use of Roman material culture has often focused on repurposed architectural elements or re-carved portraits, and new approaches have increasingly focused on culture, context and memory with praxis, agency meaning, materiality, and reception as key issues. Sculpted portraits have been key players in the scholarly discourse beginning with the portraits of Rome’s ‘bad emperors’ such as Caligula, Nero, and Domitian reconfigured as a result of damnatio memoriae in the first century. The third century, however, proves to be a critical moment that witnesses a shift towards affirmative interventions that seek to refurbish and access the positive and legitimising aspects of the original images. Portraits are now redacted from likenesses of ‘good emperors’ such as Augustus, Hadrian, and Trajan to invoke the venerable authority of the imperial past. Private portraiture in the third century also provides evidence for secondary interventions not motivated by denigration but by the prestige of re-use. In a funerary context, the reconfiguration of portraits could confer ancestral honour and status. Ultimately the reuse of portraits, both imperial and private, can be read as highly creative revitalising acts of positive recycling. On cover:Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900
{"title":"Rethinking re-carving: revitalising Roman portraits in the third century","authors":"Eric R. Varner","doi":"10.5617/acta.10435","DOIUrl":"https://doi.org/10.5617/acta.10435","url":null,"abstract":"Research on the re-use of Roman material culture has often focused on repurposed architectural elements or re-carved portraits, and new approaches have increasingly focused on culture, context and memory with praxis, agency meaning, materiality, and reception as key issues. Sculpted portraits have been key players in the scholarly discourse beginning with the portraits of Rome’s ‘bad emperors’ such as Caligula, Nero, and Domitian reconfigured as a result of damnatio memoriae in the first century. The third century, however, proves to be a critical moment that witnesses a shift towards affirmative interventions that seek to refurbish and access the positive and legitimising aspects of the original images. Portraits are now redacted from likenesses of ‘good emperors’ such as Augustus, Hadrian, and Trajan to invoke the venerable authority of the imperial past. Private portraiture in the third century also provides evidence for secondary interventions not motivated by denigration but by the prestige of re-use. In a funerary context, the reconfiguration of portraits could confer ancestral honour and status. Ultimately the reuse of portraits, both imperial and private, can be read as highly creative revitalising acts of positive recycling.\u0000 \u0000On cover:Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images).\u0000E-ISSN (online version) 2611-3686\u0000ISSN (print version) 0065-0900","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116502591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper investigates the personal adornment that was found in the medieval cave of ‘Āsi al-Hadath in Lebanon, which yielded a magnificent treasure from the second half of the thirteenth century. Indeed, several bodies lay there along with their belongings, all remarkably preserved. Historical sources reveal that this group belonged to the Maronite community. This paper attempts to address the identity of these individuals by studying the associated jewellery finds, thus adding new insights to this well-studied material. On cover:Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images). E-ISSN (online version) 2611-3686 ISSN (print version) 0065-0900
{"title":"Adorned medieval mummies from ‘Āsi al-Hadath cave, Lebanon: a multicultural community?","authors":"Patricia Antaki-Masson","doi":"10.5617/acta.10444","DOIUrl":"https://doi.org/10.5617/acta.10444","url":null,"abstract":"This paper investigates the personal adornment that was found in the medieval cave of ‘Āsi al-Hadath in Lebanon, which yielded a magnificent treasure from the second half of the thirteenth century. Indeed, several bodies lay there along with their belongings, all remarkably preserved. Historical sources reveal that this group belonged to the Maronite community. This paper attempts to address the identity of these individuals by studying the associated jewellery finds, thus adding new insights to this well-studied material.\u0000 \u0000On cover:Late Roman wall, the portion immediately south of the West Gate (Porta Oea) with re-used blocks from first-century mausolea (Drawing by Francesca Bigi) and Tombstone of Regina from South Shields (Arbeia) (Tyne and WearArchives and Museums/ Bridgeman Images).\u0000E-ISSN (online version) 2611-3686\u0000ISSN (print version) 0065-0900","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116576193","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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