تجربهٔ گلدان‌های اتروسکی: سرامیک‌ها، بدن‌ها و تصاویر در اتروسک

In a world without plastics, ceramics, alongside organic containers, were used for almost every substance which required protection or containment: from perfume to porridge. The experience of an Etruscan person, living day to day, would have been filled with interactions with ceramics, making them objects which can recall intimate transactions in the past to the archaeologist in the present. Characterising that experience of Etruscan pottery is the concern of this book. What was it like to use and live with Etruscan pottery? How was the interaction between an Etruscan pot structured and constituted? How can that experience be related back to bigger questions about the organisation of Etruscan society, its increasingly urban nature and relationship with other Mediterranean cultures? More specifically, this volume aims to unpick both the physical encounter between vessel and hand, and the emotional interaction between the user of a pot and the images inscribed upon its surface. In a world without plastics, ceramics, alongside organic containers, were used for almost every substance which required protection or containment: from perfume to porridge. The experience of an Etruscan person, living day to day, would have been filled with interactions with ceramics, making them objects which can recall intimate transactions in the past to the archaeologist in the present. Characterising that experience of Etruscan pottery is the concern of this book. What was it like to use and live with Etruscan pottery? How was the interaction between an Etruscan pot structured and constituted? How can that experience be related back to bigger questions about the organisation of Etruscan society, its increasingly urban nature and relationship with other Mediterranean cultures? More specifically, this volume aims to unpick both the physical encounter between vessel and hand, and the emotional interaction between the user of a pot and the images inscribed upon its surface. Cover 1 Title Page 3 Copyright Page 4 Contents 5 List of Figures 7 List of Tables 8 Acknolwedgements 9 Introduction 11 1.1 Etruscan Places, Etruscan Trade, Etruscan Things 14 1.2 Agency and Phenomenology in Italian Prehistory 16 1.3 Seeking Etruscan Experiences 17 Figure 1.1: Map of Etruria 13 Table 1.1: Periodization of Etruscan archaeology 14 Traditions and Trajectories 19 2.1 Introduction 19 2.2 Initial Entanglements: 1250-1400 20 2.3 To Make a Nation: 1723-1800 23 2.4 Politics of Involvement: 1918-1943 24 2.5 Division and Development post 1945 26 2.6 Meanwhile, across la manica.. 28 2.7 From Romance to Rigour 29 2.8 Incorporating Ideas 30 2.9 Conclusions 31 Figure 2.1: Detail from Giotto’s fresco of Hell in the Scrovegni Chapel, Padova. 21 Figure 2.2: Detail from the Tomb of the Blue Demons, Tarquinia. 22 Thinking “things” through: a phenomenology of objects 33 3.1 Introduction 33 3.2 Subject to the Centre: From Hegel to Merleau-Ponty 34 3.3 Perception to Performance: Judith Butler 35 3.4 Volatile Bodies 36 3.5 Throwing Like a Girl 38 3.6 Phenomenology for Pots 39 3.7 Objects and Social Discourse 42 3.8 From Theory to Practice 43 Figure 3.1: Moebius strip 37 Figure 3.2: Young girl throwing a stone into the sea. 39 Quantifying Experience – Methodologies 45 4.1 Introduction 45 4. 2 Making a Corpus, Structuring Data 46 4.3 Four Sites, Seven Wares 48 4.4 Experiencing the Etruscan Banquet 51 4.5 From Table to Tomb 55 4.6 An Experiential Analysis 58 Figure 4.1: Ceramic groupings by traditional terminologies and user-centric categories. 47 Table 4.1: Proportions of different ceramic wares included in the corpus 50 Table 4.2: Production origin, deposition context and date range for all pottery by site. 51 Figure 4.2: Tomb of the Leopards, Tarquinia 52 Figure 4.3: Etruscan pottery in use 2. 52 Figure 4.4: Diners from the Tomba dei Vasi Dipinti Adapted from a damaged tomb painting, Tarquinia. 53 Figure 4.5: Crater, Tomb of the Lionesses, Tarquinia 55 Figure 4.6: Funerary Ceramics from Vulci 57 Figure 4.7: Shaping the body through two glass vessels 58 Table 4.3: Variables of Experiential Analysis 61 Table 5.1: Categories of vessel height 62 Touching and Feeling: Vessel Bodies 62 5.1 Introduction 62 5.2 Body Proximity Groups: Hand to Mouth, Clay to Skin 65 5.3 Sizing Pots Up: Height, Rim Diameter, Volume 68 5.4 Seeking Skill- Secondary Characteristics 73 5.5 Experience, Performance, Control: Conclusions 77 Table 5.2: Categories of vessel rim diameter 63 Table 5.3: Categories of vessel volume 63 Table 5.4: Categories of rim diameter:vessel height ratio 63 Figure 5.1: Process of ‘skill score’ calculation 64 Table 5.5: Categories of rim diameter: average human hand length 64 Figure 5.2: Pottery by relationship to the body 65 Figure 5.3: Pottery by body proximity groups 66 Figure 5.4: Body proximity groups by origin (proportional percentage) 66 Figure 5.5: Body proximity groups by site. 67 Figure 5.6: A – Vessel height B – Vessel height by production origin. 68 Figure 5.7: A – Indigenous and B – Imported vessel heights and body proximity groups. 69 Figure 5.8: A – Vessel rim diameter B – Vessel rim diameters and production origin. 70 Figure 5.9: A – Indigenous and B – Imported vessel rim diameters and body proximity groups. 70 Figure 5.10: A – Vessel volumes. B – Vessel volumes and production origin. 71 Figure 5.11: Volumes and body proximity groups 72 Figure 5.12: Handle groups and production origin for drinking vessels. 72 Figure 5.13: Rim diameter as a percentage of vessel height for A – imported vessels and B – indigenous vessels by body proximity group. 73 Figure 5.14: Diameter as percentage of average hand length (180mm) by body proximity group. A – Imported vessels and B – Indigenous vessels. 74 Figure 5.15: A – Vessel skill scores B – Proportional percentage of skill scores and production origin. 75 Figure 5.16: Ease of use scores by body proximity group. A – Indigenously produced vesesls and B: Imported vessels. 75 Figure 5.17: Ease of use scores for A – imported and B – indigenous drinking vessels by site. 76 Figure 5.18: Ease of use scores for A – imported and B – indigenous serving vessels. 77 Figure 6.1: Typology of image placement. 80 Seeing and Revealing: Images on Pots 80 6.1 Introduction 80 6.2 Angles of Access: Image Placement 82 6.3 Additional Features, Additional Feelings: Image Stimulation 85 6.4 Eyes and Fingers: Conclusions 87 Figure 6.2: Typology of image stimulation. 81 Figure 6.3: Image placement 82 Figure 6.4: Secondary placement of images on indigenously produced vessels. 83 Figure 6.5: Image placement and body proximity groups. A – All vessels. B – Indigenous vessels. C – Imported vessels. 83 Figure 6.6: Placement of images by site. 84 Figure 6.7: Experience of Images by body proximity 85 Figure 6.8: Experiences of images by site. A – All vessels. B – Indigenous vessels. 86 Figure 6.9: Image rendering techniques A – By body proximity group. B – By site. 87 Experiencing Bodies: Bodies in Images on Pots 90 7.1 Introduction 90 7.2 Human and Other Bodies 91 7.3 Gendered Bodies 96 7.4 Bodies on Pots: Conclusions 103 Figure 7.1: Typologies of bodies 90 Figure 7.2: ypologies of gendered body 91 Figure 7.3: Humans and Other bodies All vessels. 92 Figure 7.4: Types of bodies by body proximity group A – Indigenous vessels. B – Imported vessels. 93 Figure 7.5: Types of bodies by site. A – Imported vessels. B – Indigenous vessels. 93 Figure 7.6: Huntsman with dog and rabbits as passive accompaniments. 94 Figure 7.7: Huntsman being eaten by a large feline (a lion?) PC19690095. 95 Figure 7.8: Male figure with supernatural mount from Vulci. 95 Figure 7.9: Winged female figure. 96 Figure 7.10: Lion-headed male with lions. 97 Figure 7.11: Gendered bodies 97 Figure 7.12: Ages of bodies (all vessels) 98 Figure 7.13: Gendered bodies by body proximity group. 98 Figure 7.14: Gendered bodies by site 99 Figure 7.15: Positions of female bodies. 100 Figure 7.16: Positions of female bodies by site. 101 Figure 7.17: Passivity in female bodies in imported pottery: an active woman is pacified and made an object 101 Figure 7.18: The active yet peripheral female body. 102 Figure 7.19: ‘Potnia Theron’ figure with owls from Poggio Civitate. 102 Figure 7.20: Female with olisbos from Vulci. 103 Figure 8.1: Process of activity definition. 105 From Being to Doing: Actions of Bodies on Pots 105 8.1 Introduction 105 8.2 Multiple Layers of Experience 106 8.3 Themes in Activity 108 8.4 Conclusions 112 Figure 8.2: Single and multiple action themes by production origin. 107 Figure 8.3: Single and multiple action themes by body proximity group. 107 Figure 8.4: Action themes on: A – indigenous vessels and B – imported vessels 108 Figure 8.5: Action themes by site 109 Figure 8.6: Action themes on imported pottery by date. 110 Figure 8.7: Action themes by body proximity group. 111 Pots, People, and Experience: Conclusions 115 9.1 Introduction 115 9.2 Drink while you think: Ontologies of Pottery and Alcohol 115 9.3 Changing Pots, Changing Persons 119 9.4 Back to the Future 121 Pottery Corpus 124 Corpus Bibliography 149 Bibliography 149 Digital Bibliography 150 Historical and Literary Sources 150 Bibliography 151 Index 164 ceramics,General,Greece,Social Science,archaeology,Etruria,History,ancient Machine Generated Contents Note: Introduction -- 1.1. Etruscan Places, Etruscan Trade, Etruscan Things -- 1.2. Agency And Phenomenology In Italian Prehistory -- 1.3. Seeking Etruscan Experiences -- Traditions And Trajectories -- 2.1. Introduction -- 2.2. Initial Entanglements: 1250 -- 1400 -- 2.3. To Make A Nation: 1723 -- 1800 -- 2.4. Politics Of Involvement: 1918 -- 1943 -- 2.5. Division And Development Post 1945 -- 2.6. Meanwhile, Across La Manica -- 2.7. From Romance To Rigour -- 2.8. Incorporating Ideas -- 2.9. Conclusions -- Thinking `things' Through: A Phenomenology Of Objects -- 3.1. Introduction -- 3.2. Subject To The Centre: From Hegel To Merleau-ponty -- 3.3. Perception To Performance: Judith Butler. 3.4. Volatile Bodies -- 3.5. Throwing Like A Girl -- 3.6. Phenomenology For Pots -- 3.7. Objects And Social Discourse -- 3.8. From Theory To Practice -- Quantifying Experience -- Methodologies -- 4.1. Introduction -- 4.2. Making A Corpus, Structuring Data -- 4.3. Four Sites, Seven Wares -- 4.4. Experiencing The Etruscan Banquet -- 4.5. From Table To Tomb -- 4.6. An Experiential Analysis -- Touching And Feeling: Vessel Bodies -- 5.1. Introduction -- 5.2. Body Proximity Groups: Hand To Mouth, Clay To Skin -- 5.3. Sizing Pots Up: Height, Rim Diameter, Volume -- 5.4. Seeking Skill -- Secondary Characteristics -- 5.5. Experience, Performance, Control: Conclusions -- Seeing And Revealing: Images On Pots -- 6.1. Introduction -- 6.2. Angles Of Access: Image Placement. 6.3. Additional Features, Additional Feelings: Image Stimulation -- 6.4. Eyes And Fingers: Conclusions -- Experiencing Bodies: Bodies In Images On Pots -- 7.1. Introduction -- 7.2. Human And Other Bodies -- 7.3. Gendered Bodies -- 7.4. Bodies On Pots: Conclusions -- From Being To Doing: Actions Of Bodies On Pots -- 8.1. Introduction -- 8.2. Multiple Layers Of Experience -- 8.3. Themes In Activity -- 8.4. Conclusions -- Pots, People, And Experience: Conclusions -- 9.1. Introduction -- 9.2. Drink While You Think: Ontologies Of Pottery And Alcohol -- 9.3. Changing Pots, Changing Persons -- 9.4. Back To The Future -- Pottery Corpus -- Corpus Bibliography -- Bibliography -- Digital Bibliography -- Historical And Literary Sources -- Bibliography. Lucy Shipley. Includes Bibliographical References (pages 139-153) And Index. In a world without plastics, ceramics, alongside organic containers, were used for almost every substance which required protection or from perfume to porridge. The experience of an Etruscan person, living day to day, would have been filled with interactions with ceramics, making them objects which can recall intimate transactions in the past to the archaeologist in the present. Characterising that experience of Etruscan pottery is the concern of this book. What was it like to use and live with Etruscan pottery? How was the interaction between an Etruscan pot structured and constituted? How can that experience be related back to bigger questions about the organisation of Etruscan society, its increasingly urban nature and relationship with other Mediterranean cultures? More specifically, this volume aims to unpick both the physical encounter between vessel and hand, and the emotional interaction between the user of a pot and the images inscribed upon its surface. Table of Contents Introduction Traditions and Trajectories Thinking 'things' a phenomenology of objects Quantifying Experience - Methodologies Touching and Vessel Bodies Seeing and Images on Pots Experiencing Bodies in Images on Pots From Being to Actions of Bodies on Pots Pots, People, and Conclusions Pottery Corpus Bibliography Index What was it like to use and live with Etruscan pottery? Characterising that experience of Etruscan pottery is the concern of this book. More specifically, this volume aims to unpick both the physical encounter between vessel and hand, and the emotional interaction between the user of a pot and the images inscribed upon its surface.