Ulieriu-Rostás, Theodor E.
École des Hautes Études en Sciences Sociales-Paris, France
Currently PhD candidate in ancient history at the École des Hautes Études en Sciences Sociales (Paris) under the supervision of Prof. Claude Calame (2010-16, final year) and research fellow at the New Europe College, Bucharest (2015-16). BA degree in History
(University of Bucharest, 2008), MA in History (EHESS Paris, 2010). Other short-term affiliations: École Française d’Athènes, Fondation
Hardt pour l’Étude de l’Antiquité Classique (2013).
For whom do satyr musicians stand? A fresh look at
the semantics of Attic vase-painting(6th – 4 th c. BC)
From the frenzied witnesses of musical inventions in Athenian satyr plays to the Hesiodic “good-for-nothings” and Telestes’ treatment of Marsyas as a “handclapping beast”, satyrs seem to cover a rather narrow spectre of musical competence in the archaic and classical
Hellenic poetic tradition. Yet Attic vase-painting makes out of satyrs one of its most frequent and enduring musical actors, clearly surpassing in numbers the occurrences of any other hybrid figures or animal musicians. Previous literature has explored the satyrs’ broad
connection to music and the animal world, but the aim of these particular images remains little understood: are they mere visual puns, do they outline lineal or inverted paradigms of musical performance? Putting this question on firmer methodological ground, this paper will take a systematic approach to the relations, correspondences and construction of meaning
around satyr musicians, as framed within the overall visual syntax and three-dimensionality of Attic painted vases.
http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf
https://ehess.academia.edu/TheodorUlieriuRostas
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