The purpose of the Roman Argei ceremony, during which the Vestal Virgins harvested made and paraded rush puppets only to throw them into the Tiber, is widely debated. Modern historians supply three main reasons for the purpose of the Argei: an agrarian act, a scapegoat, and finally as an offering averting deceased spirits or Lares. I suggest that the ceremony also related to war and the spectacle of displaying war casualties. I compare the ancient Near East and Rome and connect the element of war and husbandry and claim that the Argei paralleled the sacred marriage. in addition to an agricultural and purification rite, these rituals may have served as sympathetic magic for pre- and inter-war periods. As of yet, no author has proposed the Argei as a ceremony related to war. By looking at the Argei holistically I open the door for a new direction of inquiry on the Argei ceremony, fertility cults in the Near East and in Rome, and on the execution of war criminals.The Argei and new year’s sacred marriage both occurred during the initiation of campaign and spring planting and harvest season. Both in the ancient Near East and in Rome, animal victims were sacrificed and displayed through impaling, crucifixion, and hanging for fertility and in war. for both Rome and the Near East war casualties were displayed on sacred trees. Through the Near East cultures a strong correlation existed between impaling, hanging, and crucifixion in war and Sacred Tree fertility worship. By examining Roman tree worship, military rituals, and agricultural ceremonies a similar correlation becomes apparent. on the same day of the Argei, Mars was married to the anthropomorphized new year and within the month became a scapegoat expelled from the city. Additionally, on the first day of the Argei boys became soldiers.

This study considers the visual representation of the alchemical idea of the philosopher’s stone (lapis philosophorum) in the Harry Potter films: Harry Potter and the Philosopher’s Stone (Columbus 2001), Harry Potter and the Chamber of Secrets (Columbus 2002), Harry Potter and the Prisoner of Azkaban (Cuaron 2004), Harry Potter and the Goblet of Fire (Newell 2005), andHarry Potter and the Order of the Phoenix (Yates 2007). The lapis philosophorum was believed to turn base metals into gold and produce an Elixir of Life. As such, it is envisioned as the ultimate alchemical idea, and this study emphasises how the lapis can function as a signifier for an alchemical worldview within the Harry Potter films. Because the concept and symbolism of the Harry Potter films is largely based on JK Rowling’s (1997; 1998; 1999; 2000; 2003; 2005; 2007) original novels, this study provides a detailed comparison of how alchemical imagery is used in the novels and contrasts this with the visual imagery of the films. This study undertakes a hermeneutic analysis of the transmission of alchemical ideals from the literary to the visual medium. It also provides a detailed analysis of interrelated visual icons in the Harry Potter films that represent the idea of the lapis as an embodiment of alchemical perfection. In addition, by studying the interplay between alchemical imagery in the Harry Potter novels and films, and comparing the worldviews represented by each, this study is able to analyse the dynamics of the hermeneutic process. This study concludes with a consideration of how alchemical theory relates to the discipline of hermeneutics, how it influences the process of interpretation, and ultimately the relationship between the alchemical worldview and current perspectives on authorship. / Dissertation (MA)--University of Pretoria, 2008. / Visual Arts / unrestricted