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The Roman-Campanian Hermaphroditus : = Visual Representations and the Performative Body Under Dionysus.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Roman-Campanian Hermaphroditus :/
Reminder of title:	Visual Representations and the Performative Body Under Dionysus.
Author:	DeMone, Brittany.
Description:	1 online resource (511 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-12, Section: A.
Contained By:	Dissertations Abstracts International84-12A.
Subject:	Classical studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29390327click for full text (PQDT)
ISBN:	9798379700911

The Roman-Campanian Hermaphroditus : = Visual Representations and the Performative Body Under Dionysus.
DeMone, Brittany.

The Roman-Campanian Hermaphroditus :Visual Representations and the Performative Body Under Dionysus. - 1 online resource (511 pages)

Source: Dissertations Abstracts International, Volume: 84-12, Section: A.

Thesis (Ph.D.)--University of Calgary (Canada), 2022.

Includes bibliographical references

Hermaphroditus is an intersex deity, described and depicted in ancient sources as having female breasts and a male phallus. Scholars have fixated on the phallic nature of the deity, often interpreting Hermaphroditus as symbolizing fertility, sexual union, marriage, or serving an apotropaic function in the ancient world. However, what if this is a common misconception? My study re-examines what we know of Hermaphroditus by focusing on artistic representations of the deity found in the Campanian region of Italy, looking specifically at material remains found in Roman domus and villas.I draw on recent studies of gender and sexuality in the ancient world to interpret Hermaphroditus as an object of attraction rather than one of fear or revulsion. I argue that Hermaphroditus finds a place within the Dionysian sphere, with the intersex deity iconographically linked to the god of wine and theatre, as well as spatially and socio-culturally tying Hermaphroditus to the Roman concept of otium, convivial settings, and garden spaces. The inclusion of Hermaphroditus within the sphere of Dionysus, provides Hermaphroditus with a space where hir gender androgyny serves performative roles. Hermaphroditus not only exhibits features of gender performativity, but also role-plays as identifiable motifs such as the sleeping maenad/Ariadne, the woman at her toilette, and even Dionysus himself. I further link this performativity to a theatrical environment where Hermaphroditus displays parallels with gender ambiguous performers such as pantomime dancers. I conclude with an exercise in viewing Ovid's story of Hermaphroditus and Salmacis found in his Metamorphoses as a possible source for adapted pantomime libretti and looking for artistic representations of the intersexed deity as serving as a visual metonym for performers and performative space.By redefining Hermaphroditus as the embodiment of idealized male youth and female gender, the androgyny is reconceptualized within the liminality of Dionysian space. This allows for new understandings of sex and gender, creating a space for identities of marginalized groups where androgyny may not be recognized as conventional within Roman society but was still coveted for its beauty and sexual appeal.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798379700911Subjects--Topical Terms:

2122826
Classical studies.
Subjects--Index Terms:

CampaniaIndex Terms--Genre/Form:

542853
Electronic books.

The Roman-Campanian Hermaphroditus : = Visual Representations and the Performative Body Under Dionysus.
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502 $a Thesis (Ph.D.)--University of Calgary (Canada), 2022.
504 $a Includes bibliographical references
520 $a Hermaphroditus is an intersex deity, described and depicted in ancient sources as having female breasts and a male phallus. Scholars have fixated on the phallic nature of the deity, often interpreting Hermaphroditus as symbolizing fertility, sexual union, marriage, or serving an apotropaic function in the ancient world. However, what if this is a common misconception? My study re-examines what we know of Hermaphroditus by focusing on artistic representations of the deity found in the Campanian region of Italy, looking specifically at material remains found in Roman domus and villas.I draw on recent studies of gender and sexuality in the ancient world to interpret Hermaphroditus as an object of attraction rather than one of fear or revulsion. I argue that Hermaphroditus finds a place within the Dionysian sphere, with the intersex deity iconographically linked to the god of wine and theatre, as well as spatially and socio-culturally tying Hermaphroditus to the Roman concept of otium, convivial settings, and garden spaces. The inclusion of Hermaphroditus within the sphere of Dionysus, provides Hermaphroditus with a space where hir gender androgyny serves performative roles. Hermaphroditus not only exhibits features of gender performativity, but also role-plays as identifiable motifs such as the sleeping maenad/Ariadne, the woman at her toilette, and even Dionysus himself. I further link this performativity to a theatrical environment where Hermaphroditus displays parallels with gender ambiguous performers such as pantomime dancers. I conclude with an exercise in viewing Ovid's story of Hermaphroditus and Salmacis found in his Metamorphoses as a possible source for adapted pantomime libretti and looking for artistic representations of the intersexed deity as serving as a visual metonym for performers and performative space.By redefining Hermaphroditus as the embodiment of idealized male youth and female gender, the androgyny is reconceptualized within the liminality of Dionysian space. This allows for new understandings of sex and gender, creating a space for identities of marginalized groups where androgyny may not be recognized as conventional within Roman society but was still coveted for its beauty and sexual appeal.
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653 $a Pompeii
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