By Nora Clark
Aphrodite and Venus in fable and Mimesis is a vast, versatile resource booklet of comparative literature and cultural reports. It promotes the wide-ranging presence and impression of widespread idiosyncratic personalities in fabled goddess mythology and its emphatic notions of endearment and attract. The ebook brings jointly seven-hundred stated resources drawn from successive historic, international and literary eras, together with central commentaries, in addition to genuine details and critical renditions in artwork, prose and verse, inside and past mainstream western tradition. A long, unique advent provides a copious documented preview of the possible variation and mimesis of 'divine' characterization and its respective centrality from the lengthy far away earlier to the current day. fantasy, hardly latent, demonstrates different modes of expression and open-ended flexibility through the six accomplished chapters which light up and probe, in flip, points of the ideological presence, sensibilities, trials and triumphs and interventions of the goddess, even if sacred or profane. specific literary extracts and episodes diversity throughout historical cultures along rather contemporary expressions of hermeneutics, mixing fantasy with the modern within the multi-layered reception or admonishment of the goddess, even if by way of one designation or the opposite. As such, this booklet is fully appropriate to all phases of the evolution and growth of a dynamic ecu literary tradition and its best authors and personalities.
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Extra resources for Aphrodite and Venus in Myth and Mimesis
His masterful history systematically traces the struggle between Asia and Europe and incorporates a fusion of cultural and religious data in meticulous prose. This extract from Book one presents a cultural survey of Cypriot rites imported to Paphos from a “shameful” Babylonian model which delineates the high price of one’s civic duty: Every woman born in the country must once in her life go and sit down in the precinct of Aphrodite, and there consort with a stranger … a woman who has taken her seat is not allowed to return home till one of the strangers throws a silver coin into her lap and takes her with him beyond the holy ground.
Aphrodite plays a role in two of these productions: Seven Against Thebes (467 BC) and The Suppliants (ca. 463 BC). In the latter, the Chorus of fifty Daniads plead their case to remain in Argos, thereby avoiding enforced marriage to cousins in Egypt. ”54 King Pelasgus and his populace oblige the Danaids and their father Danaus cautions modesty and gratitude to these willing hosts. However: Just so, when Aphrodite finds the orchard gate Pushed wide, and sweet, ripe bodies there, she makes it known, Till every man that passes, sick with longing, aims 55 Heart-melting glances at such virgin loveliness.
The passage partly quoted below is a lengthy one about Phryne (Mnesarete), whom Athenaeus posits as the model for the Venus painting. Phryne from Thespiae was a celebrated Athenian courtesan who flourished in ca. 96 She was mistress to Praxiteles, who sculpted a statue of her for the Temple of Apollo at Delphi. 97 Nevertheless, he is the first to concede that Phryne was a controversial figure, particularly in court (ca. 350 BC), where her defence lawyer Hyperidies, in a ploy to overturn the trial, removed her clothing, creating an historically flamboyant legal precedent that would prompt a decree banning court nudity and theatrics: … he caused the judges to feel superstitious fear of this handmaid and ministrant of Aphrodite, and indulging their feeling of compassion, they refrained from putting her to death … As a matter of fact, Phryne was more beautiful in the unseen parts.
Aphrodite and Venus in Myth and Mimesis by Nora Clark