Aphrodite (Gods and Heroes of the Ancient World) by Monica Silveira Cyrino

By Monica Silveira Cyrino

Aphrodite explores the numerous myths and meanings of the Greek goddess of affection, intercourse and sweetness. the most commonly worshipped and well known deities in Greek antiquity, Aphrodite emerges from the imaginations of the traditional Greek writers and artists as a multifaceted, robust and charismatic determine. This quantity explores the significance of Aphrodite for the traditional Greeks, in addition to her enduring effect as a logo of good looks, adornment, love and sexuality in modern tradition. In a wide-ranging research of the universality of Aphrodite’s energy and value, this quantity illuminates the varied complicated degrees of divinity embodied by way of the eye-catching determine of Aphrodite.
Aphrodite deals new insights into the traditional texts and inventive representations of the goddess, in addition to a entire survey of the present scholarship concerning the origins and interpretations of Aphrodite, while additionally highlighting her everlasting well known charm throughout cultures and generations. A goddess of affection who's no longer afraid to go into the battlefield; a goddess of physically adornment who's the 1st to seem absolutely nude; a goddess born of the ocean who emerges into the open sky: Aphrodite is a polyvalent deity, plural in nature, functionality and value.

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Some would also argue that the epithet philommeide¯s is not merely ornamental, but is intentionally employed in those literary contexts that emphasize Aphrodite’s function as a goddess of sexual love. Thus, the epithet “smile loving” would convey explicitly erotic connotations, suggesting that Aphrodite’s smile is in fact a calculated “come hither” gesture, one that is imbued with persuasive allure and has specifically sexual purpose. A second translation of the epithet comes from another one of Hesiod’s uses of the term, which is usually printed in most texts as philomme¯de¯s, with the long vowel rather than the diphthong in the penultimate syllable of the epithet.

308). As the cheaters remain on display for the jeers and wisecracks of the assembled male gods, Hephaestus demands repayment of his dowry investment from Zeus, Aphrodite’s father. 317–20, trans. Lombardo, 2000) Like the two Iliad passages, the Odyssey episode clearly asserts Aphrodite’s place within the Olympian family structure as the daughter of Zeus. But the Odyssey passage makes her filial position even more emphatic by representing the goddess in the midst of a grim family drama, as the daughter of a paterfamilias who is now compelled to pay reparations to his son-in-law for her adulterous behavior.

In both passages cited, the epic poet clearly articulates the apparent thematic proximity of these two concepts, love and war, while perhaps implying that the term of association is the idea of bodies sharing a vigorous but intimate physical exchange. g. 445). 225–306): the payment includes gifts of precious metals, racehorses, beautiful women and the girl, Briseis, Achilles’ prize, on whose account the conflict started when Agamemnon snatched her away. Here, the specific physical meaning of mignumi is the key proviso of the proposed reconciliation, as Odysseus promises that the girl remains sexually untouched by the king.

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