Experiencing Etruscan pots : : ceramics, bodies and images in Etruria / / Lucy Shipley.

• Superior document: Archaeopress archaeology
• VerfasserIn: Shipley, Lucy,
• Place / Publishing House: Oxford : : Archaeopress,, [2015]; ©2015
• Year of Publication: 2015
• Edition: 1st ed.
• Language: English
• Series: Archaeopress archaeology.
• Physical Description: 1 online resource (167 pages) :; illustrations.

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.

Table of Contents

Cover -- Title Page -- Copyright Page -- Contents -- List of Figures -- List of Tables -- Acknolwedgements -- Introduction -- 1.1 Etruscan Places, Etruscan Trade, Etruscan Things -- 1.2 Agency and Phenomenology in Italian Prehistory -- 1.3 Seeking Etruscan Experiences -- Figure 1.1: Map of Etruria -- Table 1.1: Periodization of Etruscan archaeology -- 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 -- Figure 2.1: Detail from Giotto's fresco of Hell in the Scrovegni Chapel, Padova. -- Figure 2.2: Detail from the Tomb of the Blue Demons, Tarquinia. -- 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 -- Figure 3.1: Moebius strip -- Figure 3.2: Young girl throwing a stone into the sea. -- 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 -- Figure 4.1: Ceramic groupings by traditional terminologies and user-centric categories. -- Table 4.1: Proportions of different ceramic wares included in the corpus -- Table 4.2: Production origin, deposition context and date range for all pottery by site. -- Figure 4.2: Tomb of the Leopards, Tarquinia -- Figure 4.3: Etruscan pottery in use 2.

Figure 4.4: Diners from the Tomba dei Vasi Dipinti Adapted from a damaged tomb painting, Tarquinia. -- Figure 4.5: Crater, Tomb of the Lionesses, Tarquinia -- Figure 4.6: Funerary Ceramics from Vulci -- Figure 4.7: Shaping the body through two glass vessels -- Table 4.3: Variables of Experiential Analysis -- Table 5.1: Categories of vessel height -- 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 -- Table 5.2: Categories of vessel rim diameter -- Table 5.3: Categories of vessel volume -- Table 5.4: Categories of rim diameter:vessel height ratio -- Figure 5.1: Process of 'skill score' calculation -- Table 5.5: Categories of rim diameter: average human hand length -- Figure 5.2: Pottery by relationship to the body -- Figure 5.3: Pottery by body proximity groups -- Figure 5.4: Body proximity groups by origin (proportional percentage) -- Figure 5.5: Body proximity groups by site. -- Figure 5.6: A - Vessel height B - Vessel height by production origin. -- Figure 5.7: A - Indigenous and B - Imported vessel heights and body proximity groups. -- Figure 5.8: A - Vessel rim diameter B - Vessel rim diameters and production origin. -- Figure 5.9: A - Indigenous and B - Imported vessel rim diameters and body proximity groups. -- Figure 5.10: A - Vessel volumes. B - Vessel volumes and production origin. -- Figure 5.11: Volumes and body proximity groups -- Figure 5.12: Handle groups and production origin for drinking vessels. -- Figure 5.13: Rim diameter as a percentage of vessel height for A - imported vessels and B - indigenous vessels by body proximity group.

Figure 5.14: Diameter as percentage of average hand length (180mm) by body proximity group. A - Imported vessels and B - Indigenous vessels. -- Figure 5.15: A - Vessel skill scores B - Proportional percentage of skill scores and production origin. -- Figure 5.16: Ease of use scores by body proximity group. A - Indigenously produced vesesls and B: Imported vessels. -- Figure 5.17: Ease of use scores for A - imported and B - indigenous drinking vessels by site. -- Figure 5.18: Ease of use scores for A - imported and B - indigenous serving vessels. -- Figure 6.1: Typology of image placement. -- 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 -- Figure 6.2: Typology of image stimulation. -- Figure 6.3: Image placement -- Figure 6.4: Secondary placement of images on indigenously produced vessels. -- Figure 6.5: Image placement and body proximity groups. A - All vessels. B - Indigenous vessels. C - Imported vessels. -- Figure 6.6: Placement of images by site. -- Figure 6.7: Experience of Images by body proximity -- Figure 6.8: Experiences of images by site. A - All vessels. B - Indigenous vessels. -- Figure 6.9: Image rendering techniques A - By body proximity group. B - By site. -- 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 -- Figure 7.1: Typologies of bodies -- Figure 7.2: ypologies of gendered body -- Figure 7.3: Humans and Other bodies All vessels. -- Figure 7.4: Types of bodies by body proximity group A - Indigenous vessels. B - Imported vessels. -- Figure 7.5: Types of bodies by site. A - Imported vessels. B - Indigenous vessels.

Figure 7.6: Huntsman with dog and rabbits as passive accompaniments. -- Figure 7.7: Huntsman being eaten by a large feline (a lion?) PC19690095. -- Figure 7.8: Male figure with supernatural mount from Vulci. -- Figure 7.9: Winged female figure. -- Figure 7.10: Lion-headed male with lions. -- Figure 7.11: Gendered bodies -- Figure 7.12: Ages of bodies (all vessels) -- Figure 7.13: Gendered bodies by body proximity group. -- Figure 7.14: Gendered bodies by site -- Figure 7.15: Positions of female bodies. -- Figure 7.16: Positions of female bodies by site. -- Figure 7.17: Passivity in female bodies in imported pottery: an active woman is pacified and made an object -- Figure 7.18: The active yet peripheral female body. -- Figure 7.19: 'Potnia Theron' figure with owls from Poggio Civitate. -- Figure 7.20: Female with olisbos from Vulci. -- Figure 8.1: Process of activity definition. -- 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 -- Figure 8.2: Single and multiple action themes by production origin. -- Figure 8.3: Single and multiple action themes by body proximity group. -- Figure 8.4: Action themes on: A - indigenous vessels and B - imported vessels -- Figure 8.5: Action themes by site -- Figure 8.6: Action themes on imported pottery by date. -- Figure 8.7: Action themes by body proximity group. -- 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 -- Index.