In this thesis the theme of the diffusion of the cult of the Egyptian goddess Isis from Egypt across the Mediterranean world is treated, by investigating some of the approaches that have been...Show moreIn this thesis the theme of the diffusion of the cult of the Egyptian goddess Isis from Egypt across the Mediterranean world is treated, by investigating some of the approaches that have been employed by Bommas, Woolf, Bricault, and Versluys in their analysis of the theme; and by examining the features of the Temple of Isis of Philae, the Temple of Isis at the Campus Martius in Rome, and the Temple of Isis at Pompeii. While the Temple of Isis at Philae mostly features architectural elements that are typical of indigenous Egyptian temples, the Italian Iseums of Pompeii and of the Campus Martius feature elements meant to evoke the Egyptian environment and elements of the cult of Isis that are represented in a Graeco-Roman fashion. After comparing the different characteristics of these structures, it emerges that the element that can be found in Egyptian temples of Isis (or in at least, the one at Philae) that persisted in the Temples of Isis when these were built in Italy, was the Nilometer, which was featured at the Temple of Isis at Pompeii, although it is not possible to know with certainty if this was featured in the Iseum Campense by looking at the archaeological evidence. In any case, many conducts for water were found in the latter structure, which could have been likely linked to the presence of a Nilometer or of other elements connected to water, and this would underline the persistence of at least the importance of the presence of water in the concept of the Iseum, and thus likely also in the practice of the cult. However, It has to be underlined that in the case of Philae, the Nilometer was with most probability used in connection to the presence of the river Nile in the vicinity of the structure, while in Italic temples this would have been an element related to the ritual of the cult. Other Egyptian-izing features, such as the dromos of the Iseum Campense, and the purgatorium of the Temple of Isis at Pompeii, were not present at the Temple of Isis at Philae, thus probably being features meant to evoke the concept of Egypt in general more than reflecting the characteristics of Egyptian Iseums. Therefore, it is possible to assume that the almost-total refashioning of the concept of the Iseum when this kind of structure was built in at least Rome and Pompeii might be a reflection of the refashioning of the cult that took place after it diffused out of Egypt.Show less
Herakles, a well-known figure from Greek Mythology, is well-beloved by the modern media, in their many recreations of his great tales in the form of movies, comic books, and various other platforms...Show moreHerakles, a well-known figure from Greek Mythology, is well-beloved by the modern media, in their many recreations of his great tales in the form of movies, comic books, and various other platforms of visual media. The legend, a symbol of human behaviour, but also a demi-god hero, boasts various qualities that reflect the human nature quite well, and yet he maintains a pedestal of godliness in his great acts and heroics. The legend of Herakles has been reused and reshaped since the dawn of its conception in the form of the oral traditions of the ancient Greek society. Before the well-known tales were written down or put into picture, or on the ‘big screen’ as we see them today, the legend of Herakles – and the many other Greek heroes of myth – were passed on by word of mouth. Through oral traditions, the ancient Greeks passed on the tales of great heroes, such as Achilles, Perseus, and, of course, Herakles. In this time, and countless time over the years that followed, the many tales – and subsequently, many versions of Herakles – were subject to variation and change. The result of this is evident in the written mythology present in the modern age. There is no singular version of the tale of Herakles, and instead, many different stories which present different views of the myth, and of the character. However, there are certain elements specific to Herakles that are recognisable in all recurring versions of him – be it in the stories or visual representations. These elements are parts of his appearance and are common and well-known elements to his visual depiction. The lion-skin cloak and the olive-wood club – in addition to the tall, muscular stature – are traits that are most often present in the visual depictions of Herakles in different forms of media. The variation in this visual depiction is the primary focus of this thesis. In different regions and different times, the visual depictions of Herakles have been subject to change, however, the set features that allow the viewer to recognise him as Herakles are continuously present in those depictions – from the Greek plates to modern movies. Regardless of the changes the story seems to endure, the visual representation of Herakles appears to hold a level of consistency throughout time.Show less
