Contents
Academic literature on the topic 'Aphrodite (Greek deity) in literature'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Aphrodite (Greek deity) in literature.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Aphrodite (Greek deity) in literature"
1
Ovadiah, Asher. "Cults of Deities in Caves in Israel in the Hellenistic and Roman Periods." Jerusalem Journal of Archaeology 3, no. 2 (2022): 283–319. http://dx.doi.org/10.52486/01.00003.13.
Full textAbstract:
This article engages three deities, one Greek and two Oriental, that their cults were worshipped in caves during the Hellenistic and Roman periods. The first deity is a Hellenistic terracotta figurine of Aphrodite, recovered from the prehistoric cave Me‘arat ha-Nahal (Wadi el-Maghara) at the foot of Mount Carmel. It probably represents Aphrodite Pandemos (Ἀϕροδίτη Πάνδημος) or Aphrodite en Kepois (Ἀϕροδίτη ἐν Κήποις). It may be assumed that the cave, and its proximity to the city of Dor, was modified to serve as a cultic site or shrine. The second deity is represented by a sunken relief engraved on a rough rock surface adjacent to a cluster of 18 caves, known as “The Temple Cave” complex, along Keziv Stream (Nahal Keziv) in western Galilee. The largest and main cave in this complex seems to have had a cultic function in the Roman period, that is, it constituted a cultic site for a particular divinity. The sunken relief depicts a walking male military figure, dubbed “The Man in the Wall.” Based on a comparative study and the figure’s iconographic characteristics, we may identify it with Sol Invictus Mithras, a Late Roman-period deity, manifesting cultic pagan activity in a remote and isolated area, in the very heart of nature. The third deity is Ba‘al Carmel (identified with Zeus/Jupiter) who was presumably worshipped in Elijah’s Cave on the western slope of Mt. Carmel. Ba‘al Carmel’s visual representation, the depiction of a libation vessel and the presumed figure of a priest or, alternatively, an altar within an aedicula suggest it was used in the Roman period. Notably, one of the Greek inscriptions, dated to the Roman period, explicitly addresses the cave’s sacred nature and the prohibition against its profanation.
2
Heath, Malcolm. "Greek Literature." Greece and Rome 63, no. 2 (September 16, 2016): 251–55. http://dx.doi.org/10.1017/s0017383516000127.
Full textAbstract:
Let us begin, as is proper, with the gods rich in praise – or, more precisely, with The Gods Rich in Praise, one of three strikingly good monographs based on doctoral theses that will appear in this set of reviews. Christopher Metcalf examines the relations between early Greek poetry and the ancient Near East, focusing primarily on hymnic poetry. This type of poetry has multiple advantages: there is ample primary material, it displays formal conservatism, and there are demonstrable lines of translation and adaptation linking Sumerian, Akkadian, and Hittite texts. The Near Eastern material is presented in the first three chapters; four chapters examine early Greek poetry. Two formal aspects are selected for analysis (hymnic openings and negative predication), and two particular passages: the birth of Aphrodite in Theogony 195–206, and the mention of a dream interpreter in Iliad 1.62–4. In this last case, Metcalf acknowledges the possibility of transmission, while emphasizing the process of ‘continuous adaptation and reinterpretation’ (225) that lie behind the Homeric re-contextualization. In general, though, his detailed analyses tend to undermine the ‘argument by accumulation’ by which West and others have tried to demonstrate profound and extensive Eastern influence on early Greek poetry. Metcalf finds no evidence for formal influence: ‘in the case of hymns, Near Eastern influence on early Greek poetry was punctual (i.e. restricted to particular points) at the most, but certainly not pervasive’ (3). His carefully argued case deserves serious attention.
3
Gibson, Craig A. "TEMPLE PROSTITUTION AT APHACA: AN OVERLOOKED SOURCE." Classical Quarterly 69, no. 2 (October 23, 2019): 928–31. http://dx.doi.org/10.1017/s0009838819000697.
Full textAbstract:
In her book The Myth of Sacred Prostitution in Antiquity (Cambridge, 2008), Stephanie Budin compiles and analyses an impressive array of literary sources which describe, or have been interpreted as describing, several practices that modern scholars have collectively and variously called sacred, ritual, cultic or temple prostitution. In general, as Budin explains, ‘[s]acred prostitution is the sale of a person's body for sexual purposes where some portion (if not all) of the money or goods received for this transaction belongs to a deity … usually Aphrodite’. Three major subtypes include ‘once-in-a-lifetime prostitution and/or sale of virginity in honor of a goddess’, activity that ‘involves women (and men?) who are professional prostitutes and who are owned by a deity or a deity's sanctuary’, and ‘a temporary type of sacred prostitution, where the women (and men?) are either prostitutes for a limited period of time before being married, or only prostitute themselves during certain rituals’.
4
Ballesteros, Bernardo. "ON GILGAMESH AND HOMER: ISHTAR, APHRODITE AND THE MEANING OF A PARALLEL." Classical Quarterly 71, no. 1 (May 2021): 1–21. http://dx.doi.org/10.1017/s0009838821000513.
Full textAbstract:
AbstractThis article reconsiders the similarities between Aphrodite's ascent to Olympus and Ishtar's ascent to heaven in Iliad Book 5 and the Standard Babylonian Gilgamesh Tablet VI respectively. The widely accepted hypothesis of an Iliadic reception of the Mesopotamian poem is questioned, and the consonance explained as part of a vast stream of tradition encompassing ancient Near Eastern and early Greek narrative poetry. Compositional and conceptual patterns common to the two scenes are first analyzed in a broader early Greek context, and then across further Sumerian, Akkadian, Ugaritic and Hurro-Hittite sources. The shared compositional techniques at work in Mesopotamia and the Eastern Mediterranean can be seen as a function of the largely performative nature of narrative poetry. This contributes to explaining literary transmission within the Near East and onto Greece.
5
Striano, Araceli. "Eros dans l’anthroponymie grecque." Mnemosyne 71, no. 4 (June 20, 2018): 640–52. http://dx.doi.org/10.1163/1568525x-12342356.
Full textAbstract:
AbstractThe history of Greek personal names (PN) related to the theonym Eros is striking.1 Despite being one of the most important gods, Eros, along with Aphrodite, is largely absent from Greek proper names in the archaic and classical periods. Later, however, and especially under Rome, there is a remarkable increase in PN at Rome and Pompeii, as well as in Hispania. The reason for the absence of Eros in early Greek names is most likely the sense of the Greek term ἔρως as ‘passionate love’, whereas its increased popularity in Hellenistic and Roman times reflects the more genial representation of the god of love in statues and reliefs.
6
Lefteratou, Anna. "THE BED CANOPY IN XENOPHON OF EPHESUS AND THE ICONOGRAPHY OF MARS AND VENUS UNDER THE EMPIRE." Ramus 47, no. 1 (June 2018): 78–107. http://dx.doi.org/10.1017/rmu.2018.6.
Full textAbstract:
This paper discusses how Roman visual culture might be useful for deciphering the ecphrastic passages of the ancient Greek novel. Whereasecphrasishas been one of the blossoming topics in the field, the examination of novelisticecphrasisalongside particular works of art is still a desideratum. As a test case I will use Xenophon of Ephesus’ecphrasisof the bed canopy depicting Ares’ and Aphrodite's embrace, in theEphesiaca,a novel that might have been written as early as AD 65. In what follows I will argue that the scene described on the canopy would have stimulated a variety of intertexts, both literary and visual, in the minds of the imperial audience: that is, Xenophon's reader would have been encouraged to recall not just Demodocus’ song of the love of Ares and Aphrodite but also the idealised Roman version of the myth, which was so frequently depicted on frescoes and mosaics in Roman villas in the first century. I then explore Xenophon's ‘interpretatio Romana’through the adaptations of the Ares and Aphrodite myth found in Plutarch and Lucian.
7
Caneva, Stefano G., and Aurian Delli Pizzi. "GIVEN TO A DEITY? RELIGIOUS AND SOCIAL REAPPRAISAL OF HUMAN CONSECRATIONS IN THE HELLENISTIC AND ROMAN EAST." Classical Quarterly 65, no. 1 (April 2, 2015): 167–91. http://dx.doi.org/10.1017/s0009838814000676.
Full textAbstract:
The adjective ἱερός is a central term in Greek religion and is used in various contexts. Generally translated ‘sacred’, it indicates that an object has been conceded to the gods and is now in relation with them (relation of belonging, protection, etc.). It appears frequently in Greek inscriptions in the expression τὰ ἱερά, to designate sacred objects or, in a more abstract meaning, sacred matters.
8
Päll, Janika. "Ancient World of the Poet and Performance in Translations by Ants Oras." Studia Metrica et Poetica 2, no. 2 (December 30, 2015): 73–101. http://dx.doi.org/10.12697/smp.2015.2.2.06.
Full textAbstract:
This paper studies the means by which Ants Oras, scholar and professor of English and world literature, literary critic and translator, recreates the poetic space of ancient Greek hymns in his translations. The paper analyses his use of deictics (local, personal and temporal) in his translations of three Homeric Hymns: the 1st part of Hymn No. 3, to Delian Apollo, the Hymn No. 19, to Pan, and especially Hymn No 5 to Aphrodite. The special focus is on the initial and final parts of the hymns, where the Greek text reflects performance context, whereas Oras presents the poems in a more general, hymnal setting, leaving out the references which reveal the function of these hymns as epic prooemium.The analysis of the deictics within the Hymn to Aphrodite reveals that Oras does not adhere strictly to the third person viewpoint of the narrator (as opposed to first person in direct speeches of the characters), but enlivens his narration by frequent deictics which refer to narrator’s viewpoint, the poet’s ‘I’, or ‘here’ and ‘now’. This can only be occasionally explained with metrical reasons (preference to use monosyllabic deictics). This pattern of enlivening is in accordance to other practices, used by Oras in these translations: frequent personification of impersonalia (flight, mind) and multiplication of actors (objects of action becoming subjects, passive constructions turned active, and so on).
9
Edmunds, Lowell. "Three Short Essays on Demodocus’s Song of Ares and Aphrodite (Odyssey 8.266–369)." Yearbook of Ancient Greek Epic Online 4, no. 1 (October 27, 2020): 55–71. http://dx.doi.org/10.1163/24688487-00401003.
Full textAbstract:
Abstract First essay: Does an audience, ancient or modern, find Demodocus’s second song humorous? This much-discussed question can be replaced with another. What is the humor that the internal Olympian audience finds? Hephaestus averts potential derision of himself and turns laughter against Ares and Aphrodite, with Poseidon’s help ultimately winning the day. Second essay: Demodocus’s song is not his, i.e., the poet’s, invention but a re-told story recognized by his audience as such. Third essay: I analyze the particular form of the condition in Hermes’s reply to Apollo and offer two comparanda in Greek literature.
10
Karagyozov, Panayot. "Prometheism Degenerated: On Material from Ancient Greek and Polish Literature." Polish Review 57, no. 1 (April 1, 2012): 95–121. http://dx.doi.org/10.2307/41557951.
Full textAbstract:
Abstract The myth of Prometheus belongs to the oldest and most frequently interpreted ancient myths. Over the centuries, Prometheism has deteriorated instead of evolving, and such a claim can be supported by comparing Aeschylus’ archetype with the theomachists in the masterpieces of Polish authors Jan Kochanowski, Adam Mickiewicz, Jan Kasprowicz, and Siawomir Mrozek. The works reviewed in this article suggest that the types of theomachy reflect the respective dominant ideology and represent the actual position of every participant in the triad: the mass— the theomachist— the deity. Prometheus, as an equal to Zeus, sacrifices himself for the inferior human "ephemerals"; in his Laments, Kochanowski creates his own anthropocentrical pantheon and demands from the resident deities to bring his beloved little daughter back to life or at least console his paternal grief; Konrad (Forefather s Eve), in order to liberate his ethnic motherland, requests from God to give him the power to rule the world by feelings; the lyric hero of Jan Kasprowicz (Holy God, Holy and Mighty) insists that God salvage mankind from disasters and starvation or become human again and come down to Earth and suffer with the ordinary people; whereas the Communist Bartodziej (Portrait), willing to fight the whole world in the name of his party leader, sacrifices the ones closest to him on the altar of Stalin, and ultimately destroys himself.
Dissertations / Theses on the topic "Aphrodite (Greek deity) in literature"
1
Rock, Bonnie June. "Aphrodite : defender of cities." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1208980276.
Full text
2
Rosenzweig, Rachel. "Aphrodite in Athens : a study of art and cult in the classical and late classical periods /." view abstract or download file of text, 1999. http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 1999.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-237). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.
3
Pereira, Vera Lucia Crepaldi 1945. "As deusas gregas virgens face ao poder de Afrodite." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251534.
Full textAbstract:
Orientador: Joaquim Brasil Fontes JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-14T19:56:09Z (GMT). No. of bitstreams: 1 Pereira_VeraLuciaCrepaldi_M.pdf: 1014426 bytes, checksum: 4bf613cfdbab6c42a9ff6682500f548c (MD5) Previous issue date: 2009
Resumo: O objetivo deste estudo, as deusas gregas virgens, Ártemis, Atena e Héstia, é demarcar a existência e a significação especial dessas deusas no mundo arcaico grego frente à posição ocupada por Afrodite, como representação do desejo. O sistema mítico prevê a questão do desejo articulada ao 'poder', conforme evidenciam as reflexões feitas a partir do corpus selecionado: as obras de Homero, de Hesíodo e os Hinos Homéricos referentes às deusas virgens e a Afrodite. A metodologia que orienta esta pesquisa segue uma linha antropológica comparativa, incluindo autores como Geertz e Detienne, com enfoque no uso e na significação da linguagem da produção escrita dos rapsodos gregos. O conceito de virgindade é direcionado pelo conceito de desejo e parece necessário que se considerem as propriedades e os atributos de Afrodite para definir as deusas gregas virgens, que fruem "de um outro modo de desejo e de poder". Esse aspecto nos faz refletir sobre uma sociedade patriarcal e as formas de independência feminina como instância de compromisso sócio-político, bem como sobre a manutenção de uma tradição herdada da grande mãe (Magna Mater) e das Amazonas. Uma possível indicação, a partir desses dados, é que o Cristianismo procurou dar continuidade a esse aspecto de gênero que promove a civilização e a organização da sociedade, através da figura da 'madre', como elemento de significação cultural.
Abstract: The aim of this study which focuses on the Virgin Greek goddesses, Artemis, Athene and Hestia, is to stress the existence and the special meaning of those goddesses in the archaic Greek world, compared with Aphrodite's position as a representative of 'desire'. The mythical system comprises the matter of desire linked to the meaning of "power", according to the evidence of reflections made from the corpus selected, Homer's and Hesiod's works and the Homeric Hymns referring to the virgin goddesses and Aphrodite. The methodology that orients this paper follows authors such as Geertz and Detienne, focusing on the use and meaning of the language in the written production of the Greek rapsodes. The concept of virginity is directed by the concept of desire, and it is necessary to consider Aphrodite's properties and attributes to define the virgin Greek goddesses who have another form of desire and power. That aspect brings up considerations on a patriarchal society and ways of feminine independence as a means of socialpolitical commitment, as well as on the maintenance of a tradition inherited from the Great Mother and the Amazons. One possible direction arising from the above facts is that Christianity tried to give sequence to this aspect of gender which promotes civilization and the organization of society, by way of the 'mater figure', as an element of cultural significance.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
4
Konik, Adrian. "Apollo, Dionysus, dialectical reason and critical cinema." Thesis, University of Port Elizabeth, 2003. http://hdl.handle.net/10948/295.
Full textAbstract:
The contemporary era is dominated by an Apollonian visual language, i.e. the visual language of mainstream cinema and the mass media, and this study concerns the role that critical cinema, as Dionysian subverter, plays under such conditions. I argue that critical cinema should not be viewed as something completely ‘new’ but rather as a new, or at least the latest, manifestation of an older subversive ‘Dionysian’ voice that has made its presence felt since the dawn of the hegemony of an Apollonian disposition in Homeric epic. (I maintain that the history of western culture can be understood in terms of the persistent tension between Apollonian and Dionysian dispositions, and I use the distinction Derrida makes in Différance, between restricted and general economies, to distinguish between them, respectively.) I begin by considering the Dionysian echoes within Homer’s Iliad and then consider the way in which they became a ‘roar’ in the tragedies of Aeschylus. After Aeschylus a predominantly Apollonian voice asserted itself once again (to various degrees) through the work of Sophocles and Euripides. This was in keeping with the trend towards a more (Apollonian) restricted economy that is reflected in the writings of Homer’s literary successors, and which reached a crucial stage in Plato’s valorisation of ‘dialectics’, or what I term ‘dialecticis m’, which saw the birth of ‘dialectical language’. Through Plato dialecticism, or dialectical language, became instantiated as the ‘language’ of western philosophy and this predisposed western culture to develop along predominantly Apollonian lines. This continued from Plato, through the Middle Ages, until in the 17th century this Apollonian trend became manifest in the concept of the stable, integral, autonomous and self -transparent Cartesian ego, which is inextricably linked to dialectical language that promises certainty of ‘truth’ and maintains the possibility of representing the world in its entirety (as a system). In the contemporary ‘age of a world picture’, the hegemonic (Apollonian) visual language of mainstream cinema and the mass media propagates and perpetuates the belief in the possibility of representing the world in its entirety through the image, and insofar as it caters to audiences’ needs for stability and certainty (of ‘truth’) through providing such ‘complete’ representations, shapes their subjectivity along the lines of the Cartesian ego. According to Baudrillard, in contemporary society and culture the hyperreal realm of visual language has become far more significant for individuals than their immediate, empirical experiences, and that, as a result, they are far less predisposed to discussion and reflection and far more prone to passive ‘watching’. Also, Adorno maintains that it is impossible to have a form of critical cinema because of the way in which features inherent to cinema predispose it towards being an ideological apparatus. However, if both Baudrillard and Adorno are correct then the future appears increasingly bleak as it involves nothing other than the continuation and propagation of the hegemony of the visual language of mainstream cinema and the mass media, with no possibility for critical resistance. I argue instead that critical cinema is possible because the move towards a more restricted economy, motivated by an Apollonian disposition, did not develop from Homer to the contemporary era without meeting Dionysian resistance. I trace the presence of a subversive Dionysian voice through Homer’s Iliad, through Aeschylus’ Prometheus Bound, and through Plato’s Dialogues, where it echoes in the sentiments of some of Plato’s interlocutors, such as Callicles. In addition, I maintain that a ‘Dionysian’ voice resonates through both Nietzsche’s and Heidegger’s respective criticisms of ‘dialectical language’ and the ‘validity’ of the Cartesian ego. I argue that critical cinema, particularly Aronofsky’s postmodern critical cinema, parallels their similar epistemological and ontological perspectives in the way in which it engages with the (Apollonian) visual language of mainstream cinema and the mass media, and thereby, potentially, facilitates a more porous and protean subjectivity.
5
Farley, Shannon K. Euripides. "Euripides' Bakkhai and the colonization of Sophrosune a translation with commentary /." Connect to this title online, 2008. http://scholarworks.umass.edu/theses/78/.
Full text
6
Vestbruk, Filip. "Dionysos kai he dionysiake tragoidia Dionysus und die dionysische Tragödie = Dionis i dionisiĭskaia tragedii︠a︡ : Vi︠a︡cheslav Ivanov : filologicheskie i filosofskie idei o dionisiĭstve /." München : Sagner, 2009. http://catalog.hathitrust.org/api/volumes/oclc/319496744.html.
Full text
7
Baginski, Nathalie. "Figures de Dionysos dans l'oeuvre de L.-F. Céline." Villeneuve d'Ascq : Presses universitaires du Septentrion, 2000. http://books.google.com/books?id=N3FcAAAAMAAJ.
Full text
8
Trafford, Simon J. "The theology of Aeschylus." Thesis, Swansea University, 2013. https://cronfa.swan.ac.uk/Record/cronfa42603.
Full textAbstract:
This thesis examines the theology of Aeschylus through a close text-based discussion of the nature and justice of Zeus. This will not be a dogmatic investigation that looks for signs of monotheism or 'proto-monotheism'. Rather, this thesis will examine the presentation of the god in Aeschylus, as he is found in his plays, free from any desire or attempt to form a rounded, comprehensive 'Aeschylean theology'. The first chapter considers the two closely connected divine terms, thetaepsilonozeta and deltaalphaiotamuonu. The clear-cut and easily discernible meaning of thetaepsilonozeta acts as a constant with which the more ambiguous and less determinable word deltaalphaiotamuonu can be compared and contrasted. This chapter discusses both those instances where deltaalphaiotamuonu seems to be synonymous with thetaepsilonozeta and where it does not, where the term seems to possess a meaning close to that of an individual's fortune or destiny in life. This is done in order to conclusively see how Aeschylus uses the word deltaalphaiotamuonu in the Eumenides as part of his characterisation of the Erinyes, which enables us to see more clearly what role divine terminology plays in the presentation of Zeus and the god's justice. The remaining chapters of this thesis examine Zeus in Aeschylus. First, attention is given to the old debates concerning the potential and respective influence of Homeric, Hesiodic and Presocratic conceptions of divinity on the theology of Aeschylus. Then, the final chapter of the thesis looks at the justice of Zeus primarily through a discussion of one question, whether we should understand Agamemnon as guilty in the eyes of Zeus, which it is argued we should not. It is shown that Aeschylus does not present an optimistic idea of Zeus or divine justice, and the god's rule is seen as neither kind nor benevolent. Rather a pragmatic and pessimistic view is presented to us by Aeschylus, one which recognises that Zeus is an all-powerful being in need of respect and honour and whose will must be carefully observed.
9
Conradie, Catharina Maria. "Mythology – archaic relics or an archetypal and universal source of constant renewal? : an exploration of the relationship between myth and archetype in the myth of Demeter and Persephone." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2611.
Full textAbstract:
Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2007.This thesis deals with the connection between mythology and psychagogy, and a structured way of reading and using myth for personal development is suggested. The myth of Demeter and Persephone is used for this purpose, and the text of the Homeric Hymn to Demeter is analysed as the basic (but not exclusive) text. In the modern world the psychagogic component relies on the work of Jung, which is seen as the most appropriate template available. His concept of the archetype is particularly useful, and the archetype of the mother goddess is analysed as a representation of the personal and spiritual development of modern women.
10
Gill, Scott T. "The theology of Lewis' Till We Have Faces." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
Full textBooks on the topic "Aphrodite (Greek deity) in literature"
1
The Homeric hymn to Aphrodite: Introduction, text, and commentary. Oxford: Oxford University Press, 2008.
Find full text
2
Aphrodite & Eros: The development of erotic mythology in early Greek poetry and cult. New York: Routledge, 2005.
Find full text
3
1939-, Rose Gilbert P., ed. The Homeric hymn to Aphrodite. Bryn Mawr, Pa: Thomas Library, Bryn Mawr College, 2000.
Find full text
4
1941-, Ford Philip J., ed. Mythologicum, ou, Interprétation allégorique de l'Odyssée, X-XII et de L'hymne à Aphrodite. Genève: Librairie Droz, 2000.
Find full text
5
Hodges, Margaret. The arrow and the lamp: The story of Psyche. Boston: Little, Brown, 1989.
Find full text
6
Hodges, Margaret. The arrow and the lamp: The story of Psyche. Boston: Little, Brown, 1989.
Find full text
7
Hodges, Margaret. The arrow and the lamp: The story of Psyche. Boston: Little, Brown, 1989.
Find full text
8
Ron, Randall, ed. Psyche & Eros: The lady and the monster : a Greek myth. Minneapolis: Graphic Universe, 2009.
Find full text
9
Il fiore del desiderio: Afrodite e il suo corteggio fra mito e letteratura. Lecce: Argo, 2000.
Find full text