Showing posts tagged as: Ancient Greece
Rome’s Chariot Racing: The “Formula One” of the Ancient World
People tend to associate the sport of chariot racing with the ancient Romans, thanks in part to Hollywood and movies like Ben-Hur…chariot racing was a fundamental part of ludi circenses (circus entertainment) for the Roman public, together with gladiatorial combats, mock hunts and wild animals pitted against each other. Chariot racing however wasn’t an activity that originated with the Romans, the ancient Greeks and the Etruscans were right into the sport long before them𝔸. It emerged in the Hellenic world at least as early as 700BC with contests taking place in stadia known as hippodromes (“horse course”). The sport features in the Iliad and by 684BC it was so popular it debuted as an event in the proto-Olympic games. In Greek chariot races the competitors were the owners of the rigs and horses, and with Spartan women entitled to own property, this allowed some women to participate in the popular sporting spectacle. Success in the four-horse races was well remunerated, with prizes for the winner such as 140 ceramic pots of olive oil (‘Ben-Hur: The Chariot Race’, A Historian Goes to the Movies, 16-Sep-2016, http://aelarsen.wordpress.com).
The premier venue for Roman chariot racing, the epicentre of the sport in antiquity, was the massively-proportioned Circus Maximus, a specially-constructed race course located between the Aventine and Palantine hills in Rome. The course was an extended oblong shape along a 2,037-foot-long sand track (spatium) with sharp 180° turns at each end (a race comprised seven laps with the top speeds nudging 40 mph) (Encyclopedia Romana, Upd. 21-Nov-2023, www.penelope.uchicago.edu). The rage for currus circenses (chariot racing) as a spectator sport was such that the Roman went from having 10-12 races a day on 17 days of the year only in Emperor Augustus’ time to 100 races per day during the reign of Domitian. The standard “horse power” for racing chariots was four horses—called a quadriga or quardigae𝔹—piloted by older, more experienced horsemen called agitatos, whereas novice drivers (auriga) were usually assigned a bigae (two-horse vehicles). Less common but not unheard of were six, eight and ten-horse chariots. The best horses for currus circenses were sourced from the Roman provinces of Lusitania and Hispania and from North Africa (‘Chariot Racing: Rome’s Most Popular, Most Dangerous Sport’, Patrick J Kiger, History, Upd. 17-July-2022, www.history.com).
To the Roman masses, the chariot drivers were above all entertainers, just like actors or musicians of the day, but there was a duality to how they were viewed by society. The elite drivers were lauded and lionised by the public (just like elite sportsmen today), but at the same time they were cursed as witches or magicians (this conclusion was drawn because how else could you explain their repeated victories?)(Kiger). Not all social elites in Rome were as gung-ho about the sport as the populus Romanus, although the egregious and unstable emperors Caligula and Nero were both big fans.
Charioteers faced a high danger of injury or death from their profession, but the lure was the prospect of fabulous wealth…for the best race drivers. The prize money for a single victory ranged from 15-30 thousand sesterces up to 60,000 sesterces. If you were successful on the track and survived, you could earn a fortune and set yourself up for life…one such ace driver was Portuguese-born Gaius Appeuleius Diocles whose 24-year career netted him upward of 36,000,000 secterces from 1,462 victories. Diocles’ race winnings, valued today as equivalent to US$17 bn, would place him far above the superstar earnings of the Michael Jordans and Novak Djokovics of the modern era in sport (Kiger).
Charioteers competed in teams under the aegis of factiones (factions) which like Formula One racing today, were under the control of team bosses/owners – these were different associations of contractors. The four principal factions, each one associated with a particular season and god, were known as the Reds, Blues, Greens and Whitesℂ. Each faction team had its own talent scouts whose job it was to find the most promising charioteers and horses, and each team had its own passionate tribal supporters base, much as we see today in professional football𝔻 (‘Chariot Races’, The Roman Empire in the First Century, www.pbs.org).
The faction bosses bankrolled the whole operation of their teams, including the engagement of medical and veterinary staff, in return they took a cut of the drivers’ winnings. With customarily 12 charioteers in a race (three drivers from each team), teams pursued a stratagem of using their two lesser drivers to try to manoeuvre and block their opponents to maximise the chances of success of their team’s star driver (Formula One and contemporary professional cycling adopt similar team tactics in races) (‘Chariot Racing’, Travels Through Greco-Roman Antiquity, http://exhibits.library.villanova.edu).
Chariot racing revolved around money, not just for the drivers and factiones, betting on the outcome by the race-going “punters” was big business too. The Circus Maximus didn’t have on-course bookies or the TAB or Ladbrokes but betting was widespread on an individual basis. Prior to a race spectators in the seated areas or in the refreshment arcades would make private wagers with each other on the upcoming race.
Footnote: Hollywood does currus circenses ⟴⟴⟴ Most movie-watchers would have seen the 1959 biblical era blockbuster Ben-Hur, the Charlton Heston version immortalised for its epic 20-plus minutes chariot race. The race is a thrilling climax to the movie, accurately capturing the danger and drama of a real chariot contest in Ancient Rome, however much of what is shown veers away from historical verisimilitude…there are nine bronze dolphin lap counters, not seven, though the chariots are comparatively light as they needed to be. In Roman charioteering the race drivers were formed into teams (as outlined above), whereas in the film this is completely ignored with each competitor singularly representing different ethnicities (Jew, Roman, Arab, etc). Roman chariot races had staggered starts and starting gates (carceres) to negate the advantage to drivers nearest the inner wall or barrier (the spina), the movie is again historically out-of-kilter. First, the contestants line up one abreast, backing on to the the spina which seems to be borrowed from the way Formula One car races used to start in the 1950s, then they wheel round and start in a straight line across the sand-strewn track. Having Ben-Hur’s antagonist the elite Roman soldier Messala as a charioteer, is also all wrong…chariot drivers were recruited from the lower orders, slaves, freedmen, foreigners, they were infamis, the disreputable in society, men with a black mark against them. Lastly, Ben-Hur and Messala and the other drivers all hold the reins of their horses during the race, unlike what the Romans actually did, which was to tie the reins around the charioteer’s waist during the race (‘A Historian”).
𝔸 and the Byzantines continued the sport after the fall of Rome
𝔹 the quadriga races were the main event of the ludi circenses race day
ℂ the Blues and the Greens, the two largest factions, engaged in a fierce rivalry
𝔻 there were also occasionally spectator riots, as in football
Odysseus Beyond Antiquity: Myth, Hero and Anti-Hero, a Literary Archetype for Contemporary Story-Telling
For scholar and layperson alike, the dawn of story-telling in the West if not the earliest literary text, coincides with Homer and his two epic poems the Iliad and the Odyssey. Dating very roughly from somewhere around 700 BCE, Homer (traditionally thought to be a blind Ionian poet – see PostScript) composed his two (very) long poems in hexameter form to be read aloud at festivals and such public events. The Homeric epics were spread throughout the Greek world and beyond by professional reciters of poetry called rhapsodes (sort of travelling bards) [Beaty Rubens & Oliver Taplin, An Odyssey Round Odysseus: The Man and His Story Traced Through Time and Place, (1989)].
Homer’s works are generally considered the foundation point of what is commonly referred to as the Western canon※, though the Iliad and the Odyssey are predated by other foundation texts emanating from the earlier Sumerian civilisation, particularly the Epic of Gilgamesh (ca 2,100 BCE), comprising poems and tales, the first known work of fiction [‘What is the oldest known piece of literature?’, (Evan Andrews), History, 22-Aug-2018, www.history.com].
The second of the epic poems, the Odyssey, deals with the perilous and action-packed 10-year journey of its eponymous hero Odysseus back to his home in Ithaca after the Trojan War (the Iliad). In 2018 a poll by the BBC of over 100 international authors, academics, journalists and critics chose the Odyssey as the most influential work in Western literature. Some of the reasons given for making the Odyssey primus inter pares in such a vast array of august literary texts include: it is “one of the great foundation myths of Western culture…asking what it means to be a hero”; it is “properly epic”; it has “great female characters”; it “forces us to question the assumptions we might have about quests, war, and what it means to return home” (repatriation); it endorses a “streak of individualism”, etc [Homer’s Odyssey is Officially the World’s Most Influential Story’, (Tasso Kokkinidis), Greece. Greek Reporter,(2018), www.greece.greekreporter.com✪.
That the Odyssey has been massively influential in the arts ever since it first emerged in the rocky hillsides of Ionian Greece is indisputable. Other ancient Greek playwrights and poets who followed Homer, like Sophocles, produced their own versions of the iconic tale (and their own take on the elusive character of Odysseus). It has been suggested that the character of Jesus in the Gospel of Markspan class=”s2″ style=”font-size: 19.73px”> draws from Odysseus and his adventures, eg, the “feeding of the 500”, Jesus was a carpenter like Odysseus, who was the builder of the “Wooden Horse” [‘The Odyssey : An Overview, No Sweat Shakespeare, www.nosweatshakespeare.com].
⍐ 2nd century AD Tunisian mosaic of the Sirens (Book 12)
The Bard’s debt to Homer
It’s widely known that Shakespeare borrowed freely from many sources – plots, devices and imagery from the Bible, Plutarch, Seneca, Chaucer, from Holinshed’s Chronicles, from Boccaccio’s Decameron, etc. [‘Shakespeare’s Source Material’, (J.M. Pressley), Shakespeare’s Resource Center, www.bardnet.net/]. Like any educated Tudor man of the day Shakespeare voraciously absorbed the classics and Homeric influences are discernible in his plays – Odyssean themes like the phenomena of homecoming (Shakespeare’s Romances); the recognition theme from Odysseus’ reappearance in disguise in Ithaca (King Lear); the renewal theme (The Winter’s Tale) (No Sweat Shakespeare)⦿.
The Odysseus-Hamlet connexion
The Odyssey’s imprint on Shakespeare is most noticeable in the Bard’s most famous tragedy Hamlet. Several patterns emerge. Both literary opuses share a preoccupation with a troubled father-son relationship (Odysseus/Telemachus, King Hamlet/Prince Hamlet). Moreover, the Odyssey and Hamlet possess striking thematic similarities. Prince Hamlet and King Odysseus both employ deception to their advantage—the former dissembling madness and the latter physical disguises—to exact retribution against those who have wronged them. Both protagonists reveal a fatal flaw (hamartia)⊞ in the course of their trials and tribulations [‘Hamlet v. Odyssey’, (William Sheng), 12-Apr-2012, http://docs.google.com/].
⍐ Odyssey-lite Homer (Simpson)
Retelling the Odysseus myth anew
The influence of the Odyssey on various media has been recurring and pervasive, including on novels (Don Quixote: Quixote, like Odysseus, embarks on a ‘epic’ journey and inflates (or distorts) his tales of heroism and survival) or The Penelopiad (Margaret Atwood’s feminist remaking of the myth as told from the point of view of Penelope, Odysseus’ long-suffering wife); on television animation (The Simpsons “Tales from the Public Domain” episode – a satirical travesty of the Odyssey, Homer (Simpson) as Odysseus on a decidedly unheroic journey [‘8 Novels Inspired by the Odyssey’, (Jessica Ferri), Early Bird Books, www.earlybirdbooks.com ; Economou Green, Mary. “The Odyssey and Its Odyssey in Contemporary Texts: Re-visions in Star Trek, The Time Traveler’s Wife,and The Penelopiad.” Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy. 1.1 (2014). Web.]; in poetry (Tennyson’s Ulysses (the Latinised form of ‘Odysseus’) is a kind of pessimistic postscript to the Odyssey with the aged hero unhappily stuck in his island kingdom lamenting the loss of his life of travel and adventure).
Odysseus by the River Liffey
Easily the most famous literary reinterpretation of the Odyssey is James Joyce’s “stream of consciousness✠ novel Ulysses, a work which tore up the handbook for writing novels in the modern age. T S Eliot summarised the revolutionary impact of Ulysses’ thus: “(Joyce) has made the novel obsolete by replacing the narrative method with the mythical method” [quoted in ‘James Joyce’s Ulysses: Remixing the Homeric Myth’, (James AW Heffernan), The Great Courses Daily, 02-Apr-2017,www.thegreatcoursesdaily.com].Joyce adapts the framework of Homer’s classic to 1904 Dublin, condensing the original’s 10-year journey into a single day, in which the protagonist, the “mock-heroic” and cod-ordinary Leopold Bloom, wanders around his various haunts in the city. In every chapter of Ulysses Joyce matches or parallels the actions of his characters with that of the Odyssey but presents them as banal and mundane. The scene in Homer where a lovely princess Nausikaa assists the shipwrecked Odysseus on the island of Scheria is reworked by Joyce to show the married cuckold Bloom as voyeur, spying on an attractive girl at Sandymount Strand while relieving his frustrations by masturbating [David Norris & Carl Flint, Joyce For Beginners, (1994)].
⍗ the 1967 film version of ‘Ulysses‘
Sci-Fi Odysseus: Trekking with Homer
Science-Fiction depictions on the screen, big and small, have mined an abundant seam of inspiration from the Odyssey. Kubrick’s and Arthur C Clarke’s 2001: A Space Odyssey repositions the story in the Solar System with a supercomputer named HAL-9000 filling the role of the Cyclops imperilling the life of Odysseus/Dave Bowman. Another cult classic that owes inestimably to Homer’s Odyssey is the long-running Star Trek TV series. The Odyssey parallels are more than translucent – Star Trek is replete with alien locations and weird and unworldly characters. Captain Kirk is “an intelligent, strong and charismatic leader, struggling to keep his crew together as they sail through the depths of space” [‘Greek Myth and Science Fiction’, www.greekmythandscifi.wordpress.com]. Kirk & Co leave the known world (Earth) to journey into the unknown (the Galaxy)❂, they “go beyond”, they problem-solve, they vanish aliens and monsters and “re-emerge into the world victorious in quest purpose and with knowledge to better the plight of humankind” (Economou Green).
Odysseus as anti-hero precursor?
Odysseus exhibits qualities that make him seem to our eyes very modern (or even post-modern). He heroically and valiantly combats the monstrous creatures which block his path, but there is another, deeply problematic side to his personality. Odysseus, the personification of guile and cunning (polumetis in the Greek), routinely acts in both the Iliad and the Odyssey without honour or noble intention – a trickster, a dissembler and “con man”, a cheat, a liar, Among his many misdeeds, he sleeps with Circe; he murders innocent maids; he displays arrogance such as in his encounter with Polyphemus (the Cyclops); he misappropriates the armour of the dead Achilles (causing Ajax to take his own life); he fails to protect his crew on the voyage home resulting in them all perishing. You can discern in the ‘complicated’ and ‘ambiguous’◪ character of Odysseus a model for the ascendency of the anti-hero in modern cinema since the 1960s (Clint Eastwood, Al Pacino, Robert DeNiro, etc) [Cook, E. (1999). “Active” and “Passive” Heroics in the “Odyssey”. The Classical World, 93(2), 149-167. doi: 10.2307/4352390].
Footnote: Odyssey, the prototype road movie
Homer’s classic is of course one of if not the principal fount of all subsequent travel/road stories in Western culture. This has proved nowhere more fecund than in modern cinema in films such as Easy Rider, Mad Max and countless others. Other road movies have been even more overt in referencing their debt to Odyssey and Homer – Paris, Texas, where the Odyssean protagonist charts a hazardous course which takes him from ruin and desperation to redemption [‘Wander Forever Between The Wind: A Tribute To PARIS, TEXAS’, (Priscilla Page), Birth, Movies, Death, 23-Sep-2017, www.birthmoviesdeath.com]. The Coen brothers’ O Brother, Where Art Thou is unequivocally transparent in its pilferings from the Odyssey…the movie is variously peopled by a “Ulysses/Everett”, a “Penny”, a figurative “Cyclops”, “Lotus Eaters”, “Trojans/Ku Klux Klan”, a “Cattle of the Sun God”, “Sirens/laundry ladies”, a “Poseidon/county sheriff” and assorted other Homeric entities – all transposed to a 1930s Great Depression, Deep South setting.
PostScript: Authorship issue
Some scholars over the years have sought to debunk the custom of attributing the Iliad and the Odyssey to someone called ‘Homer’, about who there is virtually zero factual information, no biography to recount. Rather than a knowable or identifiable author this view attributes authorship to the whole Hellenic culture, tracing its genesis in fragments created before the supposed dates that ‘Homer’ flourished [‘Author Says a Whole Culture—Not a Single ‘Homer’—Wrote ‘Iliad,’ ‘Odyssey’’, (Simon Worrall), National Geographic, 03-Jan-2015, www.nationalgeographic.com].
ღ დ ღ დ ღ
＊＊ the books, films, etc referred to above are only a selection of the total works—literary, the arts, music, cinema—informed and influenced by the Odyssey
𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪
※ ‘classic’ works of literature, philosophy, music and art elevated into a band of select ‘membership’ in the firmament of high culture
✪ the claim of ‘official’ recognition should be tempered by the fact that if a different set of experts were asked, they might not necessarily agree with the choice
⊞ in Hamlet it is prevarication and indecision, failing to act when he should, in Odysseus it is hubris, by which Odysseus offends Poseidon with “god-like” arrogance
⦿ Shakespeare’s borrowings from the Iliad are more overt in Troilus and Cressida, he is indebted to Homer’s tale of Troy for the storyline and the entire Dramatis personae
✠ a method of narration in a literary work that describes happenings in the flow of thoughts in the minds of the characters [www.literarydevices.net/]
❂ cf. Odysseus – the Underworld
◪ Emily Wilson/Erwin Cook
≡ ≡ ≡
Foundations of Basic Brewing: Beer’s Formative Role in the Making of Western Civilisation
“The Germanic peoples can endure heat and cold, but they can’t do without beer”. ~ Tacitus
If you delve into the story of beer’s prehistoric origins, you are instantly struck that its trajectory parallels that of another contemporary alcoholic beverage, wine. Just as with wine, drinking beer❈ was perceived from the earliest times not only to have an euphoric effect on consumers, but to contain tangible nutritional and medicinal properties.
Another aspect common to both beer and wine concerns the question of which region made the earliest beverages. The question is a fluid one as regular bouts of fresh archaeological findings and research continue to throw up new claimants for the title.
Clay tablet: Sumerians drinking beer through bent, elongated straws
⬇️
(photo: AP)
Building on this argument, Katz and Voight in the 1980s argued that beer had a dual appeal in antiquity: people enjoyed “the altered state of awareness” that sufficient intake of beer engendered, and at the same time they benefitted from beer’s nutritional superiority to every other food in their diet aside from animal proteins[6]Recent anthropological studies conducted in Mexico support the contention that beer took primacy over bread. Teosinte, the ancestral grass of modern maize common to Meso-America, was much more suited to beer making than for making corn flour for bread or tortillas. Mexican farmers only managed to domesticate the grass into the diet staple maize much later[7].
⬆️ Ancient Egyptian artisan brewing up beer
PostScript I: Women – the original home brewers Sumerian society was structured around the home, the men hunted and the women collected and prepared the ingredients for eating and drinking. Within the domain of the home the first beers were brewed – by women! Women brewers in Sumeria were often also priestesses and thus held in high social esteem. When Babylon eclipsed the Sumerian Empire Babylonian women also enjoyed a similar prestige – having the right to divorce and own a business and property, and to work as brewsters (professional female brewers) and as tavern keepers (and as well as bakers)◘[15]. Early beer making elsewhere was also the preserve of (elite) women! eg, the indigenous Wari (Sp: Huari) society in the Andes in Southern Peru that flourished before the rise of the Inca Empire[16]. 🍺 ♁ 👧🏾🍺 ♁ 👱🏽♀️🍺 ♁ 👩🏾🦰 Beer brewing and the product’s distribution and sale remained women’s work until brewing moved away from the home when beer-making took on a commercial-scale of activity. By the Industrial Revolution the brewing of beer had been fully taken over by men[17] .
PostScript II: The world according to beer In 2011 a documentary, How Beer Saved the World, screened on the Discovery Channel. The film, once you get past the irritatingly over-the-top, megaphonic introduction, makes a reasoned case for beer’s fundamental role in shaping the world as we know it. A battery of scientists and anthropologists take turns explaining the breadth of the ancient (and the modern) world’s debt to beer – eg, it fuelled the building of the Great Pyramid of Giza (workers were paid in beer۞); it prompted the invention of mathematics and the world’s first form of writing, Cuneiform (the film argues that arithmetic and writing was necessary to account for beer’s production and distribution); it contributed to the modern process of pasteurisation. It also reinforces the view that barley was grown for beer before bread, and that the brewed beverage came about by accident.
╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼ ❈ with the seemingly inexorable onslaught on the market of craft beers today, brewers are sifting increasingly exotic and sometimes weirder ingredients into their brew concoctions (so much so that lentil beer for instance seems almost a mild deviation from orthodoxy). For the ancient pioneers of beer-making though the basics comprised water, barley (or similar grain, eg, emmer, malt), yeast, but not hops … this last naturally growing plant ingredient was somewhat of a late-comer added to the composition of beer, it seems that the human cultivation of hops came much later (ca. AD 12th century), ‘The Short and Bitter History of Hops’, (D Martorana, Philly Beer Scene, Apr/May 2010), www.beerscenemag.com ⊛ early Yangshou period, flourished c.5,000BCE ¤ the honey-flavoured Hqt or Heqet was the most popular of the beer brews in Ancient Egypt ◘ this brings us back to the beer or bread debate – was beer-making an offshoot of bread-making or vice versa? Evidence from Ancient Egypt doesn’t resolve this question, but we do know that specially made bread was the basis for some of the beer brewed (beer loaves); also in Sumeria bippar (twice-baked barley bread) was used in the brewing of beer, Hornsey, loc.cit ۞ each one received a daily allowance up to one gallon of low-alcohol beer
[1] ‘History of the word Beer’, (Beer100.com Your place for everything Beer), [NDP] www.beer100.com [2] ‘Discover the Oldest Beer Recipe in History from Ancient Sumerian, 1800 B.C.’, (Open Culture), 03-Mar-2015, www.openculture.com [3] B Mauk, ‘When was beer invented?’, (Live Science), 18-Jan-2013, www.livescience.com [4] JW Arthur, ‘Beer through the Ages: The Role of Beer in Shaping Our Past and Current Worlds’, Anthropology Now, 6(2), Sept 2014), www.jstor.org; D Spector,’How Beer Created Civilisation’, Business Insider Australia, 27-Dec-2013, www.businessinsider.com.au [5] although the “beer first” thesis has enjoyed a vogue, some scholars reject the argument wholly, eg, Paul Mangledorf: “Man cannot live on beer alone … Are we to believe that the foundations of Western Civilization were laid by an ill-fed people living in a perpetual state of partial intoxication?”; [6] Spector, loc.cit. [7] JP Kahn, ‘How Beer Gave Us Civilisation’, The New York Times, 15-Mar-2013, www.mobile.nytimes.com [8] ‘What Was Brewing in the Natufian? An Archaeological Assessment of Brewing Technology in the Epipaleolithic’, Hayden, B, Canuel, N & Shanse, J. J. Archaeol Method Theory (2013), 20:102. Doi:10/1007/s10816-011-9127-y [9] J Wang et al, ‘Revealing a 5,000-year-old beer recipe’, Proceedings of the National Academy of Sciences, (113:201601466), 23-May-2016, www.pnas.org [10] B Bower, ‘2,550-Year-Old Celtic Beer Recipe Resurrected’, (Science News), 17-Jan-2011, www.wired.com [11] C Seawright, ‘Ancient Egyptian Alcohol: Beer, Wine and the Festival of Drunkenness’, 02-Jan-2013, www.thekeep.org; ‘Wiki History of Beer’, (Wikipedia), www.em.n.wikipedia.org; S Webb, ‘Did Beer create civilisation?’, Daily Mail (Aust), 21-Dec-2013, www.dailymail.co.uk [12] SH Katz & MM Voight, ‘Bread and Beer: The Early Use of Cereals in the Human Diet’, www.semanticsscholar.org; IS Hornsey, A History of Beer and Brewing (2003) [13] Hornsey, ibid.; JJ Mark, ‘Beer in the Ancient World’, Ancient History Encyclopedia, 02-Mar-2011, www.ancienthistory.org [14] ‘Ancient Egypt Online’, www.ancientegyptonline.co.uk/index.html [15] T Nurin, ‘How Women Brewers Saved the World’, 21-Apr-2016, www.bearandbrewing.com [16] RR Britt, ‘Elite Women Made Beer in Pre-Incan Culture’, (Live Science), 14-Nov-2005, www.livescience.com [17] ‘Women in Brewing’, (Wikipedia), www.em.n.wikipedia.org