https://www.um.edu.mt/library/oar/handle/123456789/120751 2026-04-11T05:26:25Z 2026-04-11T05:26:25Z https://www.um.edu.mt/library/oar/handle/123456789/122161 2024-05-14T06:12:53Z 2023-01-01T00:00:00Z

Title: Looking for the goddess Tinnit in winged imagery across the Mediterranean Abstract: This study is inspired by the curious winged (alate) female figure on the Carthaginian votive stela CIS I 183, which is dedicated to the Punic deities, Tinnit and Baal Hammon. This winged female figure has long been identified as a representation of the goddess Tinnit, based on the presence of associated iconography and epigraphy on the same stela. The current research therefore investigates this particular image and any other similar alate female figures (associated with Tinnit or syncretised goddesses/entities) present on artefacts from Punic and Punico-Roman contexts. These artefacts include another Carthaginian votive stela, relief sculptures, terracotta statuettes and figurines, decorated pottery sherds, and numismatic iconography and legends. In addition, the investigation provides a survey of the ‘winged female figure’ image across the Mediterranean, which likely originated in the Levant, and traces the extent of its dissemination in the Punic West. By analysing winged female imagery on the above-mentioned Punic and Punico-Roman artefacts, the analysis establishes the plausibility, or otherwise, of association between any winged female imagery with Tinnit. The image of a winged female is scarce in Phoenician-Punic iconography, resulting in only fourteen artefact specimens (carrying winged female imagery) assembled in this study’s accompanying Catalogue. In order for the analytical approach to be holistic, each artefact is examined in the context of its historico-archaeological scenario, bearing in mind that these artefacts were a result of their socio-political and cultural environments. The study concludes that only a few items (including stela CIS I 183) represent the highest contenders for their winged female images to be identified with Tinnit, while the rest leave room for further debate or reconsiderations regarding our current knowledge of Phoenician-Punic iconography and the role of the goddess Tinnit in the Phoenician-Punic world. Description: M.A.(Melit.)

2023-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/122157 2024-05-14T06:09:30Z 2023-01-01T00:00:00Z

Title: Maltese għana : folksinging, representation and performance Abstract: Malta’s National Festival of Għana (the name of a certain type of traditional singing performances), begun in 1998 and since rebranded several times, has alienated the very performers who embody the music tradition. Why? It is argued, based on ethnographic and archival research, that Għana means different things to different people. To the għannejja (performers) and guitarists, Għana is a living tradition to be interpreted in what is an active field of cultural production; għannejja do not ‘sing’ but rather perform in an intense representation and performance of self, to which guitarists and aficionados contribute, both during the performance itself and in intense discussions afterwards that contribute to an Għana hypertextuality. To many “not born in Għana”, including some festival organisers, Għana has the status of a folkloric artefact, not art; it is represented as part of a vanished world; and its performances need saving by finding new audiences — so Għana, and the għannejja, must change. The dissertation examines various aspects of these divergent views. It outlines how Għana is an autonomous social field with distinct roles, a market and careers. It explores the history of the National Festival and shows how the successive artistic directors had different visions but a shared rhetoric about the identity of Għana. It also shows how the logic of festivals promotes the idea of Għana as an ethnic showcase and spectacle, while the Għana community embraces a different aesthetic. The dissertation concludes with some general proposals for more creative dialogue between the Għana community and festival organisers, and other cultural producers. Description: M.A.(Melit.)

2023-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/121905 2024-05-10T14:49:15Z 2023-01-01T00:00:00Z

Title: Maltese ‘għana’ : folksinging, representation and performance Abstract: Malta’s National Festival of Għana (the name of a certain type of traditional singing performances), begun in 1998 and since rebranded several times, has alienated the very performers who embody the music tradition. Why? It is argued, based on ethnographic and archival research, that Għana means different things to different people. To the għannejja (performers) and guitarists, Għana is a living tradition to be interpreted in what is an active field of cultural production; għannejja do not ‘sing’ but rather perform in an intense representation and performance of self, to which guitarists and aficionados contribute, both during the performance itself and in intense discussions afterwards that contribute to an Għana hypertextuality. To many “not born in Għana”, including some festival organisers, Għana has the status of a folkloric artefact, not art; it is represented as part of a vanished world; and its performances need saving by finding new audiences — so Għana, and the għannejja, must change. The dissertation examines various aspects of these divergent views. It outlines how Għana is an autonomous social field with distinct roles, a market and careers. It explores the history of the National Festival and shows how the successive artistic directors had different visions but a shared rhetoric about the identity of Għana. It also shows how the logic of festivals promotes the idea of Għana as an ethnic showcase and spectacle, while the Għana community embraces a different aesthetic. The dissertation concludes with some general proposals for more creative dialogue between the Għana community and festival organisers, and other cultural producers. Description: M.A.(Melit.)

2023-01-01T00:00:00Z