Ladies Salome Necklace

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Salome. The image of the fatal woman who was not TEXT

The idea for this book came from a conversation I had on my flight from Paris to Chicago. I was then reading the book by Mireille Dottin-Orsini "Salome". Next to me was a Parisian on his way to rest. We got to talking. Noticing the book in my hand, he dropped: "Ah, Salomé, la grande séductrice!" ("Ah, Salome, the great seducer!"). I smiled and asked: "Is that so?" And, to induce him to clarify his idea, she added: "I did not know that she was la grande séductrice." Alas, the conversation continued in a different direction, but the words of the interlocutor puzzled me. I asked myself: Was Salome, as a historical figure, really la grande séductrice? And if not, why does she have such fame? "

These were tough questions. Reputations often do not correspond to reality, which does not prevent them from influencing the fate of a person, or a group of people, or even a nation, society and the whole historical process. Similar considerations led me to write this book, which arose as a result of observations and reflections on the prevailing image of Salome and, in general, the mechanism for constructing such phenomena. This research has resulted in a clearer understanding of the image of a woman and how theology, visual arts, literature and music contribute to its creation and popularization. In the center of my attention is Salome, but at the same time I am also interested in myths in general. I use the story of the Jewish princess as an example of the generation of myth as one of the most important and most curious cultural phenomena.

Working on this book also reminded me of the personal component of myths and myth-making. We, historians and scientists, often focus on large historical processes, but it is important not to forget that they are formed and experienced by people. The key point on which the power of myths is based is their general availability and existence in everyday life.

One of the most exciting moments in my quest to unravel the myth of Salome was my time in Florence, an Italian city often associated with John the Baptist. Upon arriving there, I visited Prato, less than half an hour from Florence by train, a town where the Renaissance artist Filippo Lippi lived and worked for some time. It was here that he wrote one of the most amazing cycles of frescoes depicting John the Baptist and the dance of Salome that became fatal for him. These beautiful images are inscribed in the context of the artist's life, with her love and parting, whi Ladies Salome Necklace ch made a deep impression on me. The scenes, both historical and personal, are mythological on both the general and particular levels.

As a rule, working on a scientific project requires solitude: the bulk of the research and findings is associated with books and personal reflections in front of a computer screen. The same thing happened to me. The interdisciplinary nature of the project and the need to work in such different areas as the history of painting and literature, theology and even sociology did not allow me to thoroughly settle down in any one of these areas. But I was lucky: while working on the book, I had people who supported me and wished me success.

My sincere thanks go to my friend Larry Shiner, Professor Emeritus of Philosophy at the University of Illinois at Springfield, an aesthetic who was always by my side as I researched and wrote the book. He supported me all this time and was one of the most sympathetic and responsive readers of this work. Also, thanks to Peter Cook and Brendan Cole, who shared their research with me and gave me some valuable advice, as well as David Boffa and Frank O'Leary.

This book is a study about myth in general, about the mythical image of Salome in particular, and about his connections with general cultural myths about other women. Although the root of the Hebrew name Salome means “peaceful,” “calm,” the perception of the most famous of its bearers is far from peaceful. For a long time, she and her story were associated with the beheading of John the Baptist: it was believed that Salome provoked the execution of the prophet. According to the Gospel testimonies, it was the enchanting beauty of Salome's dance at a feast with her stepfather Herod Antipas that led to the death of the Baptist.

For centuries, Salome and her dance have been the subject of literature and art. The origins of this plot, however, did not give much ground

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