Music and Dance: Forms of Representation in Pictorial and Written Sources

Fless, Friederike; Moede, Katja

doi:10.1002/9780470690970.ch18

Cited by 10 publications

(11 citation statements)

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“…In Roman sacrifice scenes which depict the emperor as high priest, young children stand next to him as his assistant ( camillus or camilla ) holding an incense box. Wreathed youths who play the flute also stand close by (Fless and Moede, 2011: figs 18.1 and 18.2). Children as participants in banquet scenes are frequently placed at the end or edge of a couch.…”

Section: Identification Of Children In Roman Art and Its Relationship To Actual Children And The Performance Of Ritesmentioning

confidence: 80%

“…In examples of Roman art showing children as participants in sacrifice rituals, the most common roles include: male or female assistants ( camilli or camillae ) who refill the patera or hold the incense box for priests, or emperors acting as priests (Ryberg, 1955: figs. 17b, 54a, 67, 83, 93; Fless and Moede, 2011: figs. 18.1, 18.2); loin-clothed figures ( victimarii ) who lead the sacrificial animals to the altar (Ryberg, 1955: figs.…”

Section: Children and Sacrifice/offeringmentioning

confidence: 99%

“…For Romans in the early empire, a ritual procession was more than simply walking or marching; rather, it had sacred qualities which were believed to protect and sanctify an area as well as focus the attention of the participants (Davies, 1997: 54–56; Moede, 2011: 170–171). 10 In the procession’s representation in Roman art, it is not always possible to distinguish the various types although the triumph is usually recognizable through scenes depicting the carriage of the triumphator , subjugated enemies in chains, decorated sacrificial animals, soldiers in military formation, and musicians who separate the different sections of the procession (Fless and Moede, 2011: 260). Children and youths in sacred processions are depicted in a variety of types.…”

Section: Children and Sacred Processionsmentioning

confidence: 99%

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Visual Representations of Children and Ritual in the Early Roman Empire

Tulloch¹

2012

Studies in Religion/Sciences Religieuses

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This paper takes the position that the best way to identify figures of children participating in scenes of early Christian ritual is through a comparison of child figures in Roman art and ritual. For the purpose of this comparison we refer to Roman scenes showing children in processions, offerings/sacrifices and banquets. Early Christian scenes of offerings which continued the representation of children but omitted the priest and musicians may have aided the identification of the scene as a gift or donation rather than a Roman sacrifice. While there is no ambiguity as to the figures in many of the early Christian baptism scenes being children, there is a long standing debate whether the child figures symbolically represent Jesus’ immersion in the Jordan river or actual baptizands. Possible similarities between Roman purification rituals by immersion in water and early Christian baptism, especially with regard to the visual representation of these rituals, remain a fruitful area for future research. Cet article propose que la meilleure façon d’identifier les images d’enfants qui participaient aux scènes d’anciens rituels chrétiens est par une comparaison des images d’enfants représentés dans l’art et le rituel romains. Aux fins de cette comparaison nous nous référons à des scènes montrant des enfants romains dans les processions, les offrandes/sacrifices et les banquets. Les anciennes scènes chrétiennes de l’offrande qui ont inclus la représentation des enfants, mais qui ne représentent ni le prêtre ni les musiciens, ont pu avoir aidé à l’identification de la scène comme un cadeau ou un don chrétien plutôt que d’un sacrifice romain. Bien qu’il n’y ait aucune ambiguïté que les images dans la plupart des scènes d’ancien baptême chrétien sont des enfants, il y a un débat de longue date de savoir si les images d’enfants représentent symboliquement l’immersion de Jésus dans le fleuve Jourdain ou bien de baptisés réels. Il est possible qu’il y ait des similarités entre les rituels de purification romain par immersion dans l’eau et l’ancien baptême chrétien, en particulier à l’égard de la représentation visuelle de ces rituels, ce qui mérite davantage de recherche.

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Section: Identification Of Children In Roman Art and Its Relationship To Actual Children And The Performance Of Ritesmentioning

confidence: 80%

Section: Children and Sacrifice/offeringmentioning

confidence: 99%

Section: Children and Sacred Processionsmentioning

confidence: 99%

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Visual Representations of Children and Ritual in the Early Roman Empire

Tulloch¹

2012

Studies in Religion/Sciences Religieuses

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“…See Scheid, 1995. 39. on hymns see Scheid, 2007;Hickson Hahn, 2007; for the continuum of praying and singing, Patzelt, 2018. 40. Roman ritual music: Fless and Moede, 2007;naerebout, 2015. For the aulos/tibia and the tibicines in particular: cic., De or.…”

Section: Ritualizationmentioning

confidence: 99%

Establishing Self-World-Relations in Socio-Religious Practices. Looking at Roman Religious Communication

Rüpke

2020

Arys

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Partiendo de la noción de religión como comunicación y resonancia, este artículo analiza los detalles y las variedades de la comunicación religiosa en la antigua Roma. Ampliar el foco de atención tradicional en el “sacrificio” admitiendo que sacra facere era mucho más que “sacrificar” nos permite utilizar la abundante documentación que atestigua las múltiples facetas, relaciones pragmáticas y asociaciones cognitivas de los rituales para analizar las relaciones entre el mundo y el yo individual que se establecen en la ejecución de tales ceremonias. El artículo aborda el ritual religioso como una relación triangular entre los agentes humanos (tanto en papeles activos como pasivos), sus receptores “especiales” o “divinos” y los animales u objetos empleados en dicha comunicación no simplemente de manera casual, sino como elementos constitutivos de la misma. Sostiene, además, que las prácticas religiosas tienen una cualidad relacional específica que las hace particularmente importantes para establecer relaciones, poniendo en primer plano el carácter reflexivo y auto-observante de estas prácticas “intensificadas”. Con este telón de fondo, el cuerpo del estudio investiga las numerosas asociaciones e implicaciones conceptuales y materiales del ritual religioso romano, defendiendo así la maleabilidad individual y cultural de las relaciones rituales. Se construye un marco heurístico dentro del cual es posible afirmar que las relaciones entre el mundo y el yo se establecen y se vuelven habituales en prácticas que se caracterizan por incluir destinatarios no incuestionablemente plausibles y, en consecuencia, por ser más intensamente mediatizadas y más autorreflexivas que muchas otras prácticas sociales.

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“…61 It is part of the way of life described as urbanity to develop an image of the chosen or given city that might motivate temporary or permanent migration and is a driving force of adaption and integration with regard to survival, economic success and possibly even the development of 52 See e.g. Connor 1987;Fless et al 2007 59 Becker 2012b, a. 60 Appadurai 2004.…”

Section: Urbanism and The Formation Of Religious Groupsmentioning

confidence: 99%

Religious Agency, Sacralisation and Tradition in the Ancient City

Rüpke

2018

istr

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Starting from a discussion against the notions of a unified ‘public religion’ my focus during the past decade has been on ‘religious individualization’ and the fluidity of religion captured by the concepts of ‘lived ancient religion’ and ‘religion in the making’. These concepts focus on the inherent dynamic qualities of those cultural products that I identify as religion in the course of historical analyses. And yet, the undeniable presence of traditions and even canones can be conceptualized beyond a world of individually fragmented religious practices and beliefs and incipient, ever-changing and also dissolving institutions that would be clustered together only in the form of narrative shorthand terms by historians. The paper offers a theoretical reflection on a concept of religion useful for the question of tradition and canonization, building on earlier proposals and developing those further by developing the notion of sacralisation. This will be framed by an historical assumption, namely that the processes of interest here are pushed in urban contexts. Here, my focus will be on the ancient Mediterranean.

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Music and Dance: Forms of Representation in Pictorial and Written Sources

Cited by 10 publications

References 0 publications

Visual Representations of Children and Ritual in the Early Roman Empire

Visual Representations of Children and Ritual in the Early Roman Empire

Establishing Self-World-Relations in Socio-Religious Practices. Looking at Roman Religious Communication

Religious Agency, Sacralisation and Tradition in the Ancient City

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