Once upon a time, in a small village nestled deep within a mystical forest, there lived a magical cat. This cat, named Whiskers, had jet-black fur with eyes that shone like the brightest stars in the sky. Whiskers had an air of mystery, and the villagers spoke of its mystical powers. Legend had it that Whiskers possessed the ability to grant wishes, but only to those who were pure of heart. The village was full of hopeful individuals who sought out Whiskers for a chance at having their dreams come true. They would leave offerings of fish and milk for Whiskers, hoping that their wishes would be granted.
The purpose of this short article is to bring a fascinating object further into the public domain and discuss it interms of its unique imagery. A copper alloy bowl in the collection of the Yorkshire Museum (YORYM: 2010.324) has, since 2010, been displayed in the entrance hall of the museum; a factor that has yet gained it no additional attention in an academic capacity. This short contribution adds to a scheme of research undertaken by the author into the use of phallic imagery in an apotropaic fashion (Parker 2015; Parker & Ross 2016;Parker forthcoming and in prep) as part of an ongoing PhD project with the Open University investigating the archaeology of magic in Roman Britain. The bowl is one part of the Edward Hailstone collection, donated to the Yorkshire Museum in July 1882. The collection of antiquities is comprised of “some fifty stone and bronze implements of the prehistoric era, numerous specimens of Roman, Etruscan, and English Pottery etc.” (YPS 1883, 9-10) and thus formed a somewhat typical collection of a nineteenth century gentleman interested in the ancient world. Hailstone donated a number of objects from Trier including, “a torch-stand, two vessels, and a Lamp, from Trier, all of bronze and of Roman work. and two charms against the Evil Eye from Trier” (YPS 1883, 29).
324 has, since 2010, been displayed in the entrance hall of the museum; a factor that has yet gained it no additional attention in an academic capacity. In that sense, these little weiners were rather remarkable in the holistic, unstigmatised bridges they built between ones sexual, physical, and spiritual identity.
They would leave offerings of fish and milk for Whiskers, hoping that their wishes would be granted. One day, a young girl named Lily came across Whiskers while she was playing in the forest. Intrigued by the stories she had heard, Lily decided to test the cat's supposed magical abilities.
Fascinating Fascina: Apotropaic Magic and How to Wear a Penis.
Fascina, or phallic pendants, represent a diverse and intriguing corner of Roman small-finds studies. These objects depict the human penis—often with testes and pubic hair, and sometimes in combination with other good-luck symbols—and ancient texts suggest they were used by children and men as apotropaic devices against the evil eye. This article brings together ancient texts, mortuary assemblages, artifact analysis, and experimental archaeology to examine who used these pendants, how they were worn, and the implications for object function. Phallic pendants are most frequently interred with children, and associated metal and leather finds suggest that some were suspended from the body. Among these pendants are representations of both flaccid and erect penises, with some of the latter having erections that would have projected three-dimensionally from the wearer. Experiments with one of these ithyphallic pendants demonstrate that these phalli can be highly mobile while staying erect, characteristics that likely increased the protective capabilities of these pendants.
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Phallic imagery is recorded throughout the Roman world and it is generally considered to be apotropaic in nature. Very few archaeological studies have attempted to better contextualise aspects of this imagery, either in isolation or in regional studies. This paper collates the evidence for phallic carvings on stone in the north of Roman Britain and assesses them contextually, stylistically, spatially and chronologically. It is argued that there are three major stylistic category of phallic carving, as well as a nuanced range of places where phallic carvings are appropriate inclusions and that their spatial use relates to liminal places within the built environment of Roman Britain.
Download Free PDF View PDFJanuary 2017 edition of the Roman Finds Group's bi-annual newsletter Lucerna, featuring articles on A Copper-Bowl with Phallic Decoration from Trier,in the Collection of the Yorkshire Museum by Adam Parker, A Crossed Line: A Slightly Different (?Military) Harness Mount by M. J. Dearne and Bringing Writing Tablets to Life by David Sherlock
Download Free PDF View PDFThe purpose of this short article is to bring a fascinating object further into the public domain and discuss it interms of its unique imagery. A copper alloy bowl in the collection of the Yorkshire Museum (YORYM: 2010.324) has, since 2010, been displayed in the entrance hall of the museum; a factor that has yet gained it no additional attention in an academic capacity. This short contribution adds to a scheme of research undertaken by the author into the use of phallic imagery in an apotropaic fashion (Parker 2015; Parker & Ross 2016;Parker forthcoming and in prep) as part of an ongoing PhD project with the Open University investigating the archaeology of magic in Roman Britain. The bowl is one part of the Edward Hailstone collection, donated to the Yorkshire Museum in July 1882. The collection of antiquities is comprised of “some fifty stone and bronze implements of the prehistoric era, numerous specimens of Roman, Etruscan, and English Pottery etc.” (YPS 1883, 9-10) and thus formed a somewhat typical collection of a nineteenth century gentleman interested in the ancient world. Hailstone donated a number of objects from Trier including, “a torch-stand, two vessels, and a Lamp, from Trier, all of bronze and of Roman work. and two charms against the Evil Eye from Trier” (YPS 1883, 29).
Greco-Roman Gold and Coral Phallic Pendant / Christie’s
She approached Whiskers cautiously and shared her deepest desire with the feline. Whiskers listened intently to Lily's wish and blinked its eyes slowly, as if contemplating the request. Suddenly, a cloud of shimmering dust enveloped them both, and Whiskers vanished from sight. Lily was left standing there in awe, unsure of what had just occurred. Weeks went by, and Lily had almost forgotten about her encounter with Whiskers when she realized that her wish had come true. She had wished for the village well to be replenished with fresh water, as it had been running dry for months. To her amazement, the well was now overflowing with crystal-clear water. News of Lily's wish being granted spread throughout the village like wildfire. Suddenly, everyone wanted to find Whiskers and have their own wishes granted. People would wander through the forest, calling out for the magical cat, hoping for a chance to make their dreams come true. But Whiskers had disappeared, leaving no trace behind. Some believed that Whiskers had moved on to a different village, while others thought the cat simply vanished into thin air. Many villagers longed for Whiskers' return, hoping that their wishes would be granted. As the years went by, Whiskers became somewhat of a legend. The village prospered with the rejuvenated well, but the longing for the magical cat remained. People would tell stories of their encounters with Whiskers, passing on the tale of the cat's extraordinary powers to future generations. And so, the magical cat Whiskers became a symbol of hope and possibility in the village. Despite its disappearance, the villagers held onto the belief that, one day, Whiskers would return to grant their wishes once more. Until then, the legend of the magical cat lived on, bringing comfort and inspiration to all who heard its tale..
Reviews for "The magical cat as a shape-shifter: Tales of transformation and duality."
1. Emma - 2/5 - I was really excited to read "The Magical Cat" as I love fantasy novels, but I was ultimately disappointed. The storyline was predictable and lacked depth, with the characters feeling one-dimensional. Additionally, the writing style felt amateurish and clumsily executed, which made it hard for me to immerse myself in the story. Overall, I found "The Magical Cat" underwhelming and wouldn't recommend it to avid readers of the genre.
2. Mark - 1/5 - "The Magical Cat" was an absolute bore. I couldn't connect with any of the characters, who seemed to lack any substance or development. The plot was disjointed and disjointed, leaving me confused and uninterested throughout the book. The writing style was also lackluster, lacking in description and failing to create a vivid and engaging world. I struggled to finish "The Magical Cat" and wouldn't recommend it to anyone looking for an entertaining and well-written fantasy novel.
3. Sarah - 2/5 - I had high hopes for "The Magical Cat," but sadly, it fell flat for me. The story felt cliché and unoriginal, with predictable twists and a lack of depth. The characters were forgettable and lacked complexity, making it hard for me to care about their journey. The writing style was average at best, failing to captivate me or create a sense of wonder. Overall, "The Magical Cat" failed to meet my expectations and left me wanting more from the story and its characters.
4. Michael - 2/5 - I found "The Magical Cat" to be a forgettable read. The plot was uninspired and failed to engage me, with a series of events that felt disjointed and lacked cohesion. The characters were uninteresting, and their motivations remained unclear throughout the book. The writing style was flat, lacking in description and failing to create a vibrant and immersive world. Overall, "The Magical Cat" left me feeling underwhelmed and unfulfilled as a reader.