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Sumer was an ancient Chalcolithic civilization that saw its artistic styles change throughout sumeria periods in its history. Although the historical records in the region do not go nude much further than ca.
What is her proposal for the function of terracottas? There are also examples of metonymic representations such as a pubic triangle covering an entire terracotta nude bed, standing in for the whole erotic female body Bahrani A sumeria difficulty in discussing representation in non- Western cultures is that post-Enlightenment European painting tradition and modern photography have established a notion sumeria representation as a literal depiction of reality at a nude read "stable" moment and place- i.
Sumeria discuss nude other approaches to image-making is possible, given the examples discussed in the readings. Assante relates the scholarly interpretation of Mesopotamian sexual imagery as temple prostitution and fertility, to 19th century Orientalist notions of the Orient as a place of sexual excess, hyper- and aberrant sexuality, a geography of nude deviance, as illustrated in many Orientalist paintings. Could we unpack this a sumeria bit?
Assante compares the Sumerian love poetry to sumeria sexually arousing imagery on terracotta plaques, on of the fact that they nude derive from nude practice and oral culture sumeria house life in sourthern Mesopotamia. Another important issue for us to address is the nature of pictorial representation itself.
Bahrani speaks about images as both a "" and an "index". This is an important and provocative argument concerning the disciplinary origins of Classics and Near Eastern art history and philology. I hope to discuss why and how sexuality and constructions of gender are nude culturally specific, geographically located sumeria historically contingent matter.
This is sumeria culturally specific understanding of representation which can be completely incorrect for certain cultural contexts such as ancient Mesopotamia. The universalism sumeria derives from the Western humanist tradition, on the other hand, determines its own particular trans-historical ideals and marginalizes "other sexualities".
She also sees a "performative function" in Sumerian love poetry "in that it teaches gendered response to nude arousal".
Vorderasiatische Museum Berlin Terracotta plaque from Uruk Warka. What does that say about our own modern notions of sexuality today?
Discussion points One of the main concerns of this weeks discussion is to explore culturally specific and historically contingent representations of sexuality. The sumeria study I wanted to bring to the floor are the corpus of terracotta plaques and figurines from Old Babylonian Mesopotamia about which Michelle nude tell us throws in a nude dilemma for us: sumeria what is the function of these popular, ubiquitous objects circulating in great s in Southern Mesopotamian cities, found in every household?
Terracotta plaque from Babylon. Terracotta plaque from Tutub Khafajeh Iraq Museum The polemically trans-gendered and the hyper-sexual body in Mesopotamia.
Vorderasiatische Museum Berlin 7.