A Scenario for Stesichorus’ Portrayal of the Monster Geryon in the Geryoneis

Noussia-Fantuzzi, Maria

doi:10.1515/tc-2013-0014

Cited by 18 publications

(1 citation statement)

References 5 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…As d 'Agostino has argued (1999, 154-157), Herakles' theft of the cattle illustrates an act of rupture, in which the hero moved the bovine animals, object of pious sacrifice, from the world beyond into the human world where such sacrificial acts must take place. To that act of rupture also belongs the killing of Geryon, a monster who is unlike any other Herakles encountered; he is a monster with divine origins, whom Stesichorus characterised as a tragic hero, in his epic poem Geryoneis, drawing from the Homeric ones, thus blurring opposed categories of hero and monster (Franzen 2009;Noussia-Fantuzzi 2013;Finglass and Davies 2014: 34;Eisenfeld 2018).…”

Section: Framing Narratives Vis-à-vis the Divine: Violence And Sacrifice At Caerementioning

confidence: 99%

Violence, Power and Religion in the South Etruscan Archaic City-State

Riva¹

Religion and Urbanity Online

View full text Add to dashboard Cite

Changes in architectural terracotta decoration of temple buildings in Archaic southern Etruria indicate changing attitudes towards the encounter with divinity, which, in turn, shaped religious experience for worshippers, as well as offering an opportunity for the exploitation of that experience to political ends. This paper explores this entanglement by taking the citystate of Caere and its temple decoration as a case study and particularly the cult and iconography of Greek hero Herakles and related myths into account in order to examine the intersection between ritualization and political power in a phase of urban growth across Tyrrhenian Central Italy. Focus, explanatory hypotheses, applied concepts and methodsThis paper wishes to investigate how the religious environment, which includes worshippers' activities as well as the elaborate decoration of religious spaces, shaped, and was in turn shaped by, political power in the city-states of Archaic Southern Etruria, circa sixth to early fifth centuries BC, and hence, to explore the relationship between this power and ritualization (Gordon 1979: 17) in urban settings. It will do so by exploiting theoretically-informed art-historical studies of coeval architectural decoration of Greek temples, which have underlined a system of communication in the decorative programmes of these temples, in which different levels of religious and cultural significance or, one might say, semantic densities pertained to different artistic genres of the decoration, from sculptures in the round to wall paintings and metopes (Hölscher 2009). These studies have furthermore introduced a key conceptual category for understanding such programmes, namely the concept of ornament inherent in the Greek and Latin words kosmos and ornamentum respectively, which, although different in their original meanings (Saliou 2015: 134), both refer to the moral and social order underlying the aesthetic order and hence physical ornament of cult buildings (Marconi 2004; Hölscher 2009; cf. Tanner 2006 on the relationship between the social and the aesthetic in relation to cult statues). Moral and social values thus drove the decorative choices of Greek temples; at the same time, these values were expressed in a religious space where theological demands equally affected these choices (Osborne 2009; cf. Osborne et al. 2016).In contrast to Greece, Archaic Etruria suffers from a lower level of preservation of temple decoration, which often survives in highly fragmented assemblages, as exemplified by much of architectural terracotta decoration at the city of Caere found in cisterns as dumps of building material (Winter 2016: 129). We also lack texts that give us an entry into the Etruscan mentality, and Etruscan social and moral values although analysis across different types of archaeological contexts can partly fill this lacuna (e.g. Riva 2017). Yet, borrowing these conceptual categories and analytical frameworks can greatly assist us. It is not, however, a simple matter of borrowing.Rather, my aim is comparati...

show abstract

Section: Framing Narratives Vis-à-vis the Divine: Violence And Sacrifice At Caerementioning

confidence: 99%

Violence, Power and Religion in the South Etruscan Archaic City-State

Riva¹

Religion and Urbanity Online

View full text Add to dashboard Cite

show abstract

Choral Constructions in Greek Culture

Steiner

2021

View full text Add to dashboard Cite

Why did the Greeks of the archaic and early Classical period join in choruses that sang and danced on public and private occasions? This book offers a wide-ranging exploration of representations of chorality in the poetry, art and material remains of early Greece in order to demonstrate the centrality of the activity in the social, religious and technological practices of individuals and communities. Moving from a consideration of choral archetypes, among them cauldrons, columns, Gorgons, ships and halcyons, the discussion then turns to an investigation of how participation in choral song and dance shaped communal experience and interacted with a variety of disparate spheres that include weaving, cataloguing, temple architecture and inscribing. The study ends with a treatment of the role of choral activity in generating epiphanies and allowing viewers and participants access to realms that typically lie beyond their perception.

show abstract

Preface and Acknowledgements

2021

Choral Constructions in Greek Culture

View full text Add to dashboard Cite

A Scenario for Stesichorus’ Portrayal of the Monster Geryon in the Geryoneis

Cited by 18 publications

References 5 publications

Violence, Power and Religion in the South Etruscan Archaic City-State

Violence, Power and Religion in the South Etruscan Archaic City-State

Choral Constructions in Greek Culture

Preface and Acknowledgements

Contact Info

Product

Resources

About