- небрежность плюс воображение плюс вымысел
Благодаря любезности ampelios прочитал недавние публикации о минойской цивилизации. Об объектах, которые в каждом учебнике.
В статье Дианы Без говорится примерно так: первый исследователь создал некий "миф", который проникает до названий объектов, включает их значение и локализацию. Образуется многослойная легенда, которая читается как история - и приходится сомневаться снова и снова, критиковать и восстанавливать историю находок - чтобы увидеть "минойскую цивилизацию и змеиную богиню". Она, видимо, не богиня, цивилизация не факт что догреческая, не ясно, так уж она европейская - и вообще не так много чего "ясно"
https://pdfs.semanticscholar.org/a95b/a90ebde5705656514cd0745639d9e670c128.pdfCreating history by re-creating the Minoan Snake Goddess
Diane Boze 2016
At the beginning of the twentieth century Sir Arthur Evans created a paradigm of Cretan archaeology and history that is largely still promoted today in popular histories. Indeed, the intriguing terminology introduced by Evans has become so commonly used over the years, it is difficult to abandon. Yet almost all aspects of his 'Minoan' can be questioned. Much of what is recognized about this culture is based on his modern re-creations, restorations, reconstitutions. There is very little about the general presentation such as in in general education books or popular culture that escapes the ambivalences that are a part of the formulation of histories.
Consequently in textbooks, for example, even if the analyses expressly acknowledge some of the ambiguities involved in the information, the presentation -- with its reproductions clearly labelled 'Snake Goddess', or 'Toreador Fresco', or 'Palace of Minos' -- implies a certainty that it is easy for both non-expert instructor and learning student to accept and, by doing so, help to promote.
Fortunately it is not necessary here to come to any definitive decision regarding terms such as Snake Goddess, Palace of Knossos, Temple Repositories,
Minoan. It is enough to recognize how quickly Evans adopted these labels for the Knossos site, how pervasive they have remained in discussing the findings, and how significant they have been in establishing popular interpretations of the artefacts found there, including of the female faience figurines. This does not mean that Evans’s ideas are all pure fabrication and falsehood, but history in general -- and without doubt Minoan history -- is not as definite and absolute as generally presented. It is a key responsibility of instructors to help students realize this very pertinent aspect of the creation of history.
I wanted to suggest here how the Minoan can become much more of a teaching tool. Key artefacts like the Snake Goddess figurines, such popular and quintessential representations of the Minoan, provide superb occasions for students to explore the often very heavy-handed fabrication of history. They offer the opportunity to exercise critical thinking and consequently active learning, and thus to recognize the uncertainties, oddities, and doubts that are often so integral in the construction and understanding of all histories.
Bonney E.M. 2011. Disarming the Snake Godness: a reconstruction of the Faience Figurines from the Temple repositories at Knossos
согласно этой работе, аналогов этих женщин со змеями в критском искусстве практически нет. Конкретно эти фигурки сделаны, по мнению автора, опираясь на изображения сирийских богинь. Подражание сирийской иконографии - и не для культа, а как обозначение доступа к экзотическим знаниям и контрою над торговыми путями.
сирийский аналог примерно такой:
https://ivanov-p.livejournal.com/268038.html
