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Faience Goddesses and Ivory Bull-Leapers: The Aesthetics of Sexual Difference at Late Bronze Age Knossos

机译:女神女神与象牙斗牛士:青铜时代晚期的性别差异美学克诺索斯

摘要

In the figurative art of Late Bronze Age Knossos one recognizes a singular form to the human body which cuts across all other distinctions. Contrary to popular and academic interpretations, sexed differences are not marked in a clearly binary fashion. Drawing on this observation, the current paper analyses the relationship between two sets of figurines from the Bronze Age Palace site of Knossos: the faience figurines from the u27Temple Repositoriesu27 and the ivory bull-leaper figurines from the u27Domestic Quarteru27. The interpretation of these figurines elucidates: a) how the appearance of sexual characteristics is context specific and not a general feature of the imagery; and b) the differing aesthetic responses motivated by and surrounding these two sets of artefacts and hence the social contexts in which representations of sexed differences were mobilized.
机译:在晚期青铜时代的雕像艺术中,克诺索斯认识到人体的一种奇异形式,它跨越了所有其他区别。与流行和学术上的解释相反,性别差异并未以明显的二进制方式标记出来。基于这一观察,当前的论文分析了克诺索斯铜器时代宫殿遗址的两套雕像之间的关系: u26Temple Repositories u27的彩陶雕像和 u27Domestic Quarter u27的象牙牛-雕像。这些小雕像的解释阐明了:a)性特征的出现是如何根据具体情况而不是图像的一般特征来表达的; b)这两套人工制品引发并围绕着这两种不同的美学反应,因此动员了性别差异的社会环境。

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    Alberti Benjamin;

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  • 年度 2001
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