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Marsyas Unbound
Stockholm University, Faculty of Humanities, Department of Archaeology and Classical Studies, Classical Archaeology and Ancient History.ORCID iD: 0000-0002-2412-5735
2014 (English)Conference paper, Presentation (Other academic)
Abstract [en]

In the presentation of the workshop "Reading emotions in ancient visual culture" the following question is posed: "Why was the agonizing sculpture of Marsyas about to be flayed so popular in the early Roman empire?" This paper will suggest an answer to this question. I wish to emphasize that there was an alternative version of the myth of Marsyas, one where he manages to escape the cruel fate that Apollo had set out for him. Instead, Marsyas settled in Italy, where his image was later to be placed in Roman fora as a symbol of liberty. I will suggest that there was a Roman tradition of depicting Marsyas "unbound" - after having escaped from Apollo and arrived in Italy. Agonizing as the depictions of the hanging Marsyas are, in a Roman context they were perhaps not necessarily seen to represent the final hours of Marsyas' life.

Place, publisher, year, edition, pages
National Category
Classical Archaeology and Ancient History Archaeology Art History
Research subject
Classical Archaeology and Ancient History
URN: urn:nbn:se:su:diva-103130OAI: diva2:715806
Reading Emotions in Ancient Visual Culture. The Semiotics of a Pre-Modern World, Swedish Institute in Rome, 16-17 April 2014
Riksbankens Jubileumsfond
Available from: 2014-05-06 Created: 2014-05-06 Last updated: 2016-01-22Bibliographically approved

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Reading Emotions in Ancient Visual Culture - Programme(50 kB)38 downloads
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Habetzeder, Julia
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ReferencesLink to record
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