Muutke küpsiste eelistusi

Losing One's Head in the Ancient Near East: Interpretation and Meaning of Decapitation [Kõva köide]

  • Formaat: Hardback, 92 pages, kõrgus x laius: 234x156 mm, kaal: 317 g, 45 Halftones, black and white
  • Sari: Studies in the History of the Ancient Near East
  • Ilmumisaeg: 19-Dec-2017
  • Kirjastus: Routledge
  • ISBN-10: 1138067482
  • ISBN-13: 9781138067486
Teised raamatud teemal:
Losing One's Head in the Ancient Near East: Interpretation and Meaning of DecapitationSuurem pilt
  • Formaat: Hardback, 92 pages, kõrgus x laius: 234x156 mm, kaal: 317 g, 45 Halftones, black and white
  • Sari: Studies in the History of the Ancient Near East
  • Ilmumisaeg: 19-Dec-2017
  • Kirjastus: Routledge
  • ISBN-10: 1138067482
  • ISBN-13: 9781138067486
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781138067486.html
Märksõnad:

In the Ancient Near East, cutting off someone’s head was a unique act, not comparable to other types of mutilation, and therefore charged with a special symbolic and communicative significance. This book examines representations of decapitation in both images and texts, particularly in the context of war, from a trans-chronological perspective that aims to shed light on some of the conditions, relationships and meanings of this specific act. The severed head is a “coveted object” for the many individuals who interact with it and determine its fate, and the act itself appears to take on the hallmarks of a ritual. Drawing mainly on the evidence from Anatolia, Syria and Mesopotamia between the third and first millennia BC, and with reference to examples from prehistory to the Neo-Assyrian Period, this fascinating study will be of interest not only to art historians, but to anyone interested in the dynamics of war in the ancient world.

Arvustused

"Building on a vast documentary record that covers the entire Syro-Mesopotamian tradition, Dolce's analysis offers an in-depth study in visual semiotics. She identifies specific 'semantic codes' and an explicit syntactical organization, through which a strong message was conveyed by means of visual imagery. This is iconology at its best: by highlighting the coherence of a representational program, and drawing on parallel written statements, our sensitivity is trained to appreciate the 'intrinsic meaning' of a topos such as the action of beheading a topos with a valence that goes well beyond that of other types of mutilation precisely because of its ideological import."

Giorgio Buccellati, University of California Los Angeles, USA

List of illustrations
vii
Preface xiii
Acknowledgements xiv
Image credits xv
Abbreviations xvi
Introduction 1(2)
Chapter 1
3(9)
1.1 From the distant past to the recent past
3(3)
1.2 An unrepeatable act
6(1)
1.3 The headless body: anonymity/identity
7(5)
Chapter 2
12(10)
2.1 Exclusivity/multiplicity
12(3)
2.2 Exhibition/quantification
15(7)
Chapter 3
22(13)
3.1 What happens to the "coveted object"?
22(3)
3.2 Destinations/motivations
25(3)
3.3 Exhibition and multivalence
28(7)
Chapter 4
35(21)
4.1 Human heads and birds of prey
35(3)
4.2 Eannatum of Lagash and the birds of prey
38(2)
4.3 Mari and the birds of prey
40(3)
4.4 Sargon I of Akkad and the birds of prey
43(1)
4.5 Dadusha of Eshnunna and the birds of prey
44(3)
4.6 The Assyrians and the birds of prey
47(9)
Chapter 5
56(8)
5.1 Moving through space and time
56(3)
5.2 How does the head travel?
59(5)
Chapter 6
64(15)
6.1 "Other" decapitations in times of war
64(2)
6.2 What happens to the severed heads of statues?
66(6)
6.3 Moving through space and time
72(1)
6.4 Annihilation/catharsis
73(6)
Bibliography 79(10)
Index 89
Rita Dolce is Associate Professor of Archaeology and History of Near Eastern Cultures and Fine Arts at the Università degli Studi Roma Tre, Italy, and a member of the Italian Archaeological Mission in Syria, where she has excavated for 40 years at the site of Tell Mardikh-Ebla. Her research interests lie mainly in the figurative art, urban topography and architecture of the third millennium BC in Mesopotamia and Syria. She has written numerous books and articles focusing particularly on visual communication as the language of power and a means of dissemination in the societies of the Ancient Near East, and on the urban origins of Ebla, its palatial culture and the structure and significance of cult places in this important Early Syrian kingdom.