This is then complemented by a discussion of other possible allusions to impairment, as well as of the disabled dancers on komos vases (II.4). As this period yields the most substantial material for the study, I summarize the results according to the myth illustrated, the region of the Greek world the vase comes from, and the shape of the vase (II.3). The second part ushers in the catalog (II.1) and indexes all Archaic Greek monuments (infra categories A-G) showing the god’s impairment (II.2). After some preliminary remarks about the sources of the inventory and the status quaestionis (I.1), I introduce Hephaistos as a god of dichotomies (I.2). I focus on the- iconography of the only Olympian with a physical impairment, Hephaistos, the crippled god of blacksmiths and craftsmen. In this paper I aim to contribute to an investigation, or rather “genealogy”, in Foucault’s (1977) sense, of deformity in the ancient world. ![]() ![]() More importantly, these representations of performing satyrs can also be seen as evoking the festivals of the god for whom they dance and sing. Although the connotation of abduction in these scenes seems obvious, the indications of dance and the inclusion of musical instruments in the depictions support an interpretation of the scenes as showing a performance of abduction. The activity that will be the focus of this paper is that of satyrs lifting maenads and carrying them on their shoulders. Thus far groups of vases which show satyrs and maenads engaged in various activities have indeed supported the hypothesis that more vases than previously thought can be seen as evoking festival or ritual practice. This emerges from an analysis of the representations of gods, particularly Dionysos, in order to investigate the potential for interpreting the scenes as related to festival practice. The painters’ penchant for showing satyrs and maenads singing, dancing, and playing musical instruments is one of the clear indicators of this. ![]() This paper will present the case for interpreting the representation of satyrs and maenads in the black-figure period as a reflection of some form of performance.
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