Log in

Relevant bibliographies by topics / Greek Gods and goddesses / Journal articles

To see the other types of publications on this topic, follow the link: Greek Gods and goddesses.

Journal articles on the topic 'Greek Gods and goddesses'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Greek Gods and goddesses.'

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.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Beaumont, Lesley. "Mythological childhood: a male preserve? An interpretation of classical Athenian iconography in its socio-historical context." Annual of the British School at Athens 90 (November 1995): 339–61. http://dx.doi.org/10.1017/s0068245400016245.

Full text

Abstract:

The birth and childhood of the Greek male gods and heroes are themes well documented in classical Athenian art and myth. By contrast, contemporary Athenian iconography and mythology are remarkably empty of references to the birth and infancy of the female heroes and female gods, or alternatively present the newborn goddesses as adult women. This article seeks to shed light on the apparently missing childhood phase of the goddesses and heroines, by examining the evidence of fifth-century Athenian iconography in its socio-historical context. Consequently, in the case of the goddesses, it is proposed that the female child figure represented a state of being incompatible with the nature and manifestation of divinity. It is further suggested that the mythological heroines enter classical Athenian art and myth only once they have attained puberty, because it is at this point that their potential for relations with the male gains significance. And just as was the case with their mortal female counterparts, it is this capacity for interaction with the male sex that makes them of interest to society.

APA, Harvard, Vancouver, ISO, and other styles

2

Ghosh, Suchandra. "Iran and India in the early historic period: A preview of their politico-cultural interface." Studies in People's History 5, no. 2 (October 12, 2018): 154–65. http://dx.doi.org/10.1177/2348448918795741.

Full text

Abstract:

The Achaemenid Empire’s expansion towards the Indus basin initiated a new confluence of Iranic and Indian cultures. Alexander’s conquests added a Greek component to this confluence, marked by Aśoka’s Aramaic and Greek edicts. The Seleucids and their successor Greek states in Bactria and other parts of Afghanistan, while continuing their homage to Greek divinities on coins, also incorporated concepts, customs and art inherited from the Achaemenids. Their Saka and Parthian successors continued the same policy as indicated by their cons. It was the Kushans beginning with Kanishka (with Huvishka continuing the practice) who shifted to Iranian gods and goddesses.

APA, Harvard, Vancouver, ISO, and other styles

3

Wallensten, Jenny. "Karpophoroi deities and the Attic cult of Ge. Notes on IG II2 4758." Opuscula. Annual of the Swedish Institutes at Athens and Rome 7 (November 2014): 193–203. http://dx.doi.org/10.30549/opathrom-07-11.

Full text

Abstract:

Karpophoros, fruit-bearing, is an epithet easily considered as “literary”, i.e., a poetic name with little or no relation to cult. The epigraphic sources, however, clearly show us that gods thus named were offered divine worship. The epithet is found in connection with several deities. Goddesses of agriculture, such as Demeter, and Ge, the Earth, naturally carry this name, but so do Zeus, Dionysos and a goddess known as “The Aiolian”, who was sometimes associated with Agrippina. This paper surveys deities known as karpophoroi and examines what their cult entailed. Its focus is, however, on a brief Acropolis inscription, IG II2 4758, where Ge is honoured as Karpophoros, in accordance with an oracle. The case study provides insights into the Attic cult of Ge, the epithet Karpophoros, as well as the use and function of epithets within Greek dedicatory language.

APA, Harvard, Vancouver, ISO, and other styles

4

Duev, Ratko. "The Family of Zeus in Early Greek Poetry and Myths." Classica Cracoviensia 22 (October 29, 2020): 121–44. http://dx.doi.org/10.12797/cc.20.2019.22.05.

Full text

Abstract:

The Family of Zeus in Early Greek Poetry and Myths In early epic poetry it is evident that certain differences exist in both traditions, mainly due to the fact that Homer’s epic poems were written on the western coast of Asia Minor and the surrounding islands, while Hesiod’s poems were composed on mainland Greece. From the analysis, it becomes clear that the development of the cult of an Indo-European Sky Father differs significantly from the assumed Proto-Indo-European tradition. His family is completely different from that in the Indo-European tradition. His wife is the goddess Hera, whom Homer calls ‘old’, as opposed to the Hesiodic tradition, in which Hestia and Demeter are older than her. Homer makes no mention whatsoever of Hestia. The ‘daughters of Zeus’ are the goddesses Athena and Aphrodite, and the ‘son of Zeus’ is Apollo. The family of Zeus according to Homer also differs from the archaeological findings of the tradition on land. Hera of Samos bears no resemblance to Hera of Argos. The oldest large temples are connected to her, as well as to the memory of Oceanus and Thetis as parents to the gods, which is a direct influence of the Mesopotamian myths of Apsu and Tiamat. Homer’s Zeus from Mount Ida, Hera of Samos, Apollo of Cilla, and Tenedus and Artemis of Ephesus are closer to the Anatolian tradition.

APA, Harvard, Vancouver, ISO, and other styles

5

Chinchilla Sánchez, Kattia. "Tezcatlipoca/Hades: Dos columnas míticas con un basamento común." Revista de Filología y Lingüística de la Universidad de Costa Rica 23, no. 1 (August 30, 2015): 249. http://dx.doi.org/10.15517/rfl.v23i1.20400.

Full text

Abstract:

En este artículo se muestra la naturaleza rnítica de dos dioses diferentes: Tezcatlipoca, del panteón azteca, y Hades, el dios del lugar de las almas oscuras. Ambas deidades tienen una base común: los atributos selénicos y solares. Más que una simple mitología comparativa, este estudio es un análisis serio de los patrones míticos y simbólicos de esas culturas disímiles. En los ritos, el horno religiosus demuestra horror hacia estos dioses ya que, según la regla coincidentia oppositorum, estos denotan el poder del mundo de la oscuridad. This article shows the mythic nature of two different gods: Tezcatlipoca, in the Aztec pantheon, and Hades, the Greek goddess of the dark soul's place. Both deities have a common base: the selenic and the solar attributes. This approach involves more than "cornparative mythology". It is a serious study of the mythic-symbolic patterns of those dissimilar cultures. In the rites, the horno religiosus denotes his horror to those goddesses, because, follow to the coincidentia oppositorum rule, they shows the power of the world of darknes.

APA, Harvard, Vancouver, ISO, and other styles

6

Mitchell, Stephen. "Inscriptions from Melli (Kocaaliler) in Pisidia." Anatolian Studies 53 (December 2003): 139–59. http://dx.doi.org/10.2307/3643092.

Full text

Abstract:

AbstractThis article presents several new inscriptions discovered during the survey of the Pisidian city at Melli directed by Dr Lutgarde Vandeput, and revisions to already published texts. These include several imperial statue bases from the city agora, four texts honouring city patrons, who include a provincial governor and a senior Roman equestrian official from the nearby Pisidian city of Selge, dedications and epitaphs. The most significant discovery is the first identified Greek copy of a votive text to ‘the gods and goddesses’, set up according to the interpretation of a Clarian oracle, which was already known from nine Latin versions. The inscription is associated with a cult room in a domestic building, and may be connected with the worship of theos hypsistos.

APA, Harvard, Vancouver, ISO, and other styles

7

Kofler, Sabine Viktoria. "Kybele in Griechenland. Ankunft und Aufnahme der Göttermutter in der griechischen Welt." historia.scribere, no. 10 (June 19, 2018): 379. http://dx.doi.org/10.15203/historia.scribere.10.104.

Full text

Abstract:

Cybele in Greece. The Arrival and Reception of the Mother of the Gods in the ancient Greek world.The following seminar-paper aims to show the arrival and reception of the phrygian Mother Goddess Matar in the greek world. It will first take a closer look at the early known sources, be it written or archaeological, of the Goddess Kybele. This article will further present, on the basis of these sources, the way the Mother of the Gods took from ancient Phrygia across Anatolia toAthens. Through her journey into the greek world Kybele had gone through an essential transformation to be accepted and worshipped as one of the primary Mother Goddess` of the ancient world.

APA, Harvard, Vancouver, ISO, and other styles

8

Bremmer, Jan N. "The agency of Greek and Roman statues. From Homer to Constantine." Opuscula. Annual of the Swedish Institutes at Athens and Rome 6 (November 2013): 7–21. http://dx.doi.org/10.30549/opathrom-06-02.

Full text

Abstract:

In the Archaic period the Greeks did not yet conceptualize the difference between a divinity and its statue. Therefore, stories that stressed the agency of statues separate from their divinities must have seemed less strange at that time than when the statues had become independent, so to speak, from their gods or goddesses. The latter started to happen in the transitional period to the Classical era when the well-known triad of divinities—heroes—mortals came into being, and philosophers began to criticize the worship of statues. All these changes together led to a development in which the agency of statues increasingly became noteworthy. After the 5th century BC we keep hearing about the agency of statues but we can also notice a growing critique of the worship of statues by different philosophical schools. In both Greece and Rome divine statues manifested themselves in particular during moments of crisis or of a decisive political character. In the Greek East the belief in the agency of statues lasted until the 3rd century AD, as Archaic statues represented a kind of cultural capital for the Greeks under Roman rule. Yet, in the end the continuing philosophical critique, which had been radicalized by the Christians, made the agency of statues intellectually unacceptable.

APA, Harvard, Vancouver, ISO, and other styles

9

Harutyunyan, Hakob. "The image of the goddess Artemis in the «History of Armenia» by Moveses Khorenatsi." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 1 (2021): 78–85. http://dx.doi.org/10.25205/1995-4328-2021-15-1-78-85.

Full text

Abstract:

The reign of the kings of the Artashes dynasty in ancient Armenia from the beginning of the II century B.C. E. was a turning point for the country in many spheres of life, including religion. In Armenia, as in all countries of the Near and Middle East, the cults of Greek gods were widespread. Armenian historian of the 5th century Movses Khorenatsi singles out the goddess Artemis (Artemis) among all Greek gods, who, as demonstrated in the work, not only complemented the functional characteristics of the Armenian gods, but also successfully syncretized with the Armenian pantheon.

APA, Harvard, Vancouver, ISO, and other styles

10

Mariolakos, I. D., and Ε. Manoutsoglou. "The geotectonic evolution of Olympus Mt and its mythological analogue." Bulletin of the Geological Society of Greece 47, no. 2 (January 24, 2017): 574. http://dx.doi.org/10.12681/bgsg.11084.

Full text

Abstract:

Mt Olympus is the highest mountain of Greece (2918 m.) and one of the most important and well known locations of the modern world. This is related to its great cultural significance, since the ancient Greeks considered this mountain as the habitat of their Gods, ever since Zeus became the dominant figure of the ancient Greek religion and consequently the protagonist of the cultural regime. Before the generation of Zeus, Olympus was inhabited by the generation of Cronus. In this paper we shall refer to a lesser known mythological reference which, in our opinion, presents similarities to the geotectonic evolution of the wider area of Olympus. According to Apollodorus and other great authors, the God Poseidon and Iphimedia had twin sons, the Aloades, namely Otus and Ephialtes, who showed a tendency to gigantism. When they reached the age of nine, they were about 16 m. tall and 4.5 m. wide. Having then realized their powers, because of their gigantic proportions, they decided to climb Olympus and fight the Gods, exile Zeus and the others, and wed two Goddesses. Otus was to marry Hera and Ephialtes Artemis. But they did not know how to climb such a high mountain, so they decided to construct a “ladder”, by putting mount Ossa on top of mount Olympus and mount Pelion on top of Ossa. This description coincides with the geological and tectonic evolution of the wider Olympus area. But, these complex tectonic processes were completed about 8 – 10 m.a., i.e. millions of years before the appearance of humans, therefore it is impossible that these morphotectonic processes were witnessed by man, so the similarities between the myth of Aloades and the tectonic evolution of the area must be purely coincidental. But are they, or is there more here?

APA, Harvard, Vancouver, ISO, and other styles

11

James, Stuart. "A Comprehensive Dictionary of Gods, Goddesses, Demigods, and Other Subjects in Greek and Roman Mythology2004416Andrew S. Glick. A Comprehensive Dictionary of Gods, Goddesses, Demigods, and Other Subjects in Greek and Roman Mythology. Lewiston, NY and Lampeter: Mellen Press 2004. iv + 133 pp., ISBN: 0 7734 6513 8 £64.95/$99.95 Mellen Studies in Mythology, Volume 1." Reference Reviews 18, no. 8 (December 2004): 11–12. http://dx.doi.org/10.1108/09504120410565602.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Heck, Joel D. "The Liberal Arts, Antidote for Atheism." Linguaculture 2014, no. 2 (December 1, 2014): 67–78. http://dx.doi.org/10.1515/lincu-2015-0025.

Full text

Abstract:

Abstract C. S. Lewis once stated that the decline of classical learning was a contributory cause of atheism. This article explores why he made this very unusual statement, describing how Lewis saw the Classics as a literature full of gods and goddesses, providing hints of truth, giving us things to write about, and preparing for the Christian faith. Using some remarkable quotations from Virgil and Plato, Lewis demonstrated how those writers anticipated both the birth and the death of Christ. Lewis’s concept of myth, powerfully present in the Classics, shows how the Gospel story itself is a “true myth,” one with a pattern that is similar to many of the pagan myths. The personal story of Lewis himself demonstrates how the Classics, and, more broadly, the liberal arts were a testimony to the truth of God and how the Greek plays of Euripides, the philosophy of Samuel Alexander, the imagination of writer William Morris, the poetry of George Herbert, and the historical sensibility of G. K. Chesterton combined (with many other similar influences) to convince Lewis that the death and resurrection of Jesus Christ were especially a “true myth,” one that happened in history, demonstrating him to be the Son of God.

APA, Harvard, Vancouver, ISO, and other styles

13

Smith, Tyler Jo. "Highland gods: rock-cut votive reliefs from the Pisidian Survey." Anatolian Studies 61 (December 2011): 133–50. http://dx.doi.org/10.1017/s0066154600008814.

Full text

Abstract:

AbstractBetween 1982 and 1996 a group of rock-cut votive reliefs was discovered during archaeological survey in Pisidia under the direction of Stephen Mitchell and the sponsorship of the British Institute (of Archaeology) at Ankara. The types represented include a horseman deity, perhaps Kakasbos, the Dioscuri with ‘goddess’ and the moon-god Men. The reliefs are discussed according to their cults and iconography, and their contribution to art and religion both locally and beyond. As a religious phenomenon, they are further considered in relation to both regional traditions and empire-wide practices. It is suggested that reliefs of this type, that are associated with the protection of mortals, should also be viewed as part of the history of devotional art and added to discussions of rock art that extend beyond the Greek and Roman worlds. A detailed catalogue of the reliefs, organised by iconographic type, concludes the article.

APA, Harvard, Vancouver, ISO, and other styles

14

Nenarokova, Maria R. "Grapes in European and Russian Language of Flowers (the 18th –19th centuries)." Vestnik of Kostroma State University 27, no. 2 (June 28, 2021): 117–22. http://dx.doi.org/10.34216/1998-0817-2021-27-2-117-122.

Full text

Abstract:

The article focuses on grapes as an element of the language of flowers, the 18th–19th century cultural phenomenon. Grapes belong to the ancient “core” of the language of flowers. It is considered a polysemantic word or a short sentence. Its use is typical for all European languages of flowers, including Russian. Grapes are often found in fiction. The epithet influences the contextual meaning of grapes. The most common colours are red and yellow, while green is much less used. Red colour enhances the meanings “fun”, “feast”, “carnal pleasures”. Yellow is associated with parental happiness, homeland, friendship, immaculate youth. Green appears in the contexts “trying to hide frustration”, “lack of skill”. The first group of meanings includes “feast”, “joy”, “pleasure”, “carnal love”. The second group of meanings is associated with the field of intellectual activity: “true knowledge”, “narrow-mindedness”. The latter meaning comes from the Russian folklore. Grapes can symbolise poetry and inspiration, and peaceful rural life as well. Since this plant accompanies ancient gods and goddesses, depicted in human form, grapes are used in comparisons that reveal the peculiarities of heroes and heroines' characters.

APA, Harvard, Vancouver, ISO, and other styles

15

Burton, Diana. "IMMORTAL ACHILLES." Greece and Rome 63, no. 1 (March 29, 2016): 1–28. http://dx.doi.org/10.1017/s0017383515000236.

Full text

Abstract:

During the early archaic period, there was considerable interest in the heroic past and the acts of mythical ancestors, especially as embodied in epic. In particular, there are a number of archaic myths dealing with attempts to evade death and to gain immortality, mostly unsuccessful. All Greek heroes are descended from gods: having at least one god (or goddess) somewhere in the family tree is a prerequisite for achieving anything worthy of note. And in a few heroes, this sliver of divinity may be turned into full-blown immortality. It is a recurring theme in Greek myth, therefore, that there is a narrow window of possibility for a hero to escape his mortal status and not have to die. Behind such myths lies the fiction that, in a past age, immortality had been attainable; the heroes of the past might not have been immortalized often, but the chance had been there. This was contrasted with the present duller age, in which immortality was out of reach.

APA, Harvard, Vancouver, ISO, and other styles

16

Иванова, Ирина, and Irina Ivanova. "Time and image of Phaedra in the works “Hippolytus” by euripides, “Phaedra” by Jean Racine and in the lyrics by Marina Tsvetaeva." Servis Plus 9, no. 3 (August 28, 2015): 70–79. http://dx.doi.org/10.12737/12542.

Full text

Abstract:

The article tells about the transformation of a wandering ancient story about the passion of a mother to her stepson, shows how each era brings about changes in the depiction of the heroine, set in a boundary situation between happiness and duty. In the tragedy of Euripides "Hippolytus" the main character is the king´s son, and Phaedra is a performer of the will of the goddess Cypris. Without knowing, Hippolytus violated ethics law that prescribed to honor equally all the gods and goddesses: he loved to worship the goddess of the hunt Artemis and didn´t bring enough victims to Aphrodite. According to the mythological sources, the election of Phaedra as the instrument of revenge can be explained by the fact that Phaedra carries the burden of a tragic guilt for her grandfather, who told Hephaestus about the affair between Aphrodite and Ares. Euripides describes the suffering of Phaedra. His character brings her life as a gift to the children. The tragedy of the debt victory is displayed brighter by the Greek author than by the French one. But the image of Phaedra, made by Jean Racine, is nobler than it was made by Euripides. The heroine of Euripides sacrifices herself for the sake of duty and commits suicide, but makes a low act, leaving a note that slanders Hippolytus, but the queen by Racine, dying, emphasizes the innocence of her stepson. The stepson´s attitude to the passion of his stepmother changes too. For Hippolytus by Euripides the passion of Phaedra is the evidence of low-lying nature of women, for Hippolytus by Jean Racine it is the touching continuation of conjugal love at first, and then, when Phaedra separates him in her mind from the father, and emphasizes that loves Hippolytus, it is a horrible discover, but not the reason for the generalization, reasoning and discrimination against all women. The continuation of the incarnation of vagrant story about Phaedra we see in the poetry of Marina Tsvetaeva in the tragedy "Phaedra". Tsvetaeva simplifies antique tragedy, removing the problem of choosing between happiness and duty, but in the poem she returns to the tragic beginning of it, highlighting the theme of the sublime punishments with passion that is emphasized in the interpretation ofR. Viktyuk, who created a cinema play "Passion about Phaedra in four dreams of Roman Viktyuk" on the basis ofTsvetayeva´s texts.

APA, Harvard, Vancouver, ISO, and other styles

17

ΜΑΡΙΟΛΑΚΟΣ, Η., and Δ. ΘΕΟΧΑΡΗΣ. "Shorelines displacement in the Saronic gulf area during the last 18.000 years and the Kihrea Paleolake." Bulletin of the Geological Society of Greece 34, no. 1 (January 1, 2001): 405. http://dx.doi.org/10.12681/bgsg.17043.

Full text

Abstract:

The wider area of Attica region and generally the Saronic Gulf contains a significant part of the history and mythology of the ancient Hellenic world. Without overreacting, it could be said that it is one of the most sacred regions of Ancient Greece and perhaps is the only region in the whole world that is related to the birth of so many gods, goddesses and heroes. This fact is linked to the paleo-climatic and geo-environmental changes that have been taken place in the Aegean and Peri-Aegean area and especially in the Saronic Gulf. As it is known, during the last 18000 years, which is after the end of the last glacial period, the climatic changes related to temperature rise had as a consequence the rise of the sea level by 125 m at least. The sea level rise had as a result significant changes in the natural environment and mainly to the distribution of coastlines and coastal areas. The rise of the sea level had also as a result the flooding of closed hydrological basins with changes in their physico-geographical function by changing them initially to lakes and in time to basins. Prehistoric man witnessed these changes in his environment and he attributed them to various gods, sometimes to destructive gods and sometimes to protective ones. All these are mentioned in several myths of Greek mythology. Therefore, the aim of this paper is the correlation of several of those myths with the physicogeographical and geological changes that took place mainly during prehistoric times in order to attempt their interpretation. We will try to approach the mythological relationship of Salamis nymph, the daughter of Asopos river and Metopi, with god Poseidon, in relation to the physicogeographical changes in the greater area between the island of Salamis and Elefsis area during the last 18000 years. The area which, nowadays, is being occupying by the bay of Elefsis. In this area 18.000 years BP there was a closed hydrological basin, which is a morphological depression that did not communicate with the sea, during that time the Saronic Gulf shoreline was located about 30 km away. The data collected up to today do not allow us to say that it was a lake during that period, however, something very possible especially during 10000 BP and 5000 BP. We named this paleo-lake "Kichrea Lake" as a tribute towards Kihreas, the son of Poseidon and Salamis nymph. At this point it is worth mentioning that Salamina and her sister Aegina were both daughters of Asopos river, a river that is located in Aegina Island and that today unfortunately has been renamed to Skoteini stream.

APA, Harvard, Vancouver, ISO, and other styles

18

Saxton, Martha, and Elizabeth Pendergast Carlisle. "River Gods: And Goddesses." Women's Review of Books 21, no. 9 (June 2004): 10. http://dx.doi.org/10.2307/4024310.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Alis, David, Luchien Karsten, and John Leopold. "From Gods to Goddesses." Time & Society 15, no. 1 (March 2006): 81–104. http://dx.doi.org/10.1177/0961463x06062280.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

De Martino, Marcello. "Hestia: The Indo-European Goddess of the Cosmic Central Fire." Culture and Cosmos 23, no. 1 (June 2019): 3–19. http://dx.doi.org/10.46472/cc.0123.0203.

Full text

Abstract:

The Pythagorean Philolaus of Croton (470-390 BCE) created a unique model of the Universe and he placed at its centre a ‘fire’, around which the spheres of the Earth, the Counter-Earth, the five planets, the Sun, the Moon and the outermost sphere of fixed stars, also viewed as fire but of an ‘aethereal’ kind, were revolving. This system has been considered as a step towards the heliocentric model of Aristarchus of Samos (310-230 BCE), the astronomical theory opposed to the geocentric system, which already was the communis opinio at that time and would be so for many centuries to come: but is that really so? In fact, comparing the Greek data with those of other ancient peoples of Indo-European language, it can be assumed that the ‘pyrocentric’ system is the last embodiment of a theological tradition going back to ancient times: Hestia, the central fire, was the descendant of an Indo-European goddess of Hearth placed at the centre of the religious and mythological view of a deified Cosmos where the gods were essentially personifications of atmospheric phenomena and of celestial bodies.

APA, Harvard, Vancouver, ISO, and other styles

21

Mariolakos, I. D., and D. I. Mariolakos. "THE ARGON FIELD IN ARCADIA, THE SINKHOLE OF NESTANI VILLAGE, GOD POSEIDON AND THE SUBMARINE DINI SPRINGS IN THE ARGOLIC GULF (PELOPONNISOS, GREECE). A GEOMYTHOLOGICAL APPROACH OF THE POSEIDON'S BIRTH." Bulletin of the Geological Society of Greece 36, no. 3 (January 1, 2004): 1146. http://dx.doi.org/10.12681/bgsg.16456.

Full text

Abstract:

The Argon Field (= πεδίο = pedion, in greek) is a small plain in the north part of the much larger Tripolis plain of Central Peloponnisos (Greece). It extends west of Mountain Artemision, which is dedicated to Goddess Artemis (Diana), between Sagas village and that of Nestani, at the province of Manti nia The whole area of Mantinia is well-known since the prehistoric times and, as it is reported by Pausanias, it is mentioned in Greek Mythology. Pausanias (Arcadica, § 7-8) mentions - among others - the following: The word "argon" means "slow cultivation", so that "Argon field" means a field of slow cultivation because of occasional flooding during wintertime, caused by water coming from the surrounding mountains and the karstjc springs flowing from the margins, consisting mainly of multjfokted cretaceous limestones (Ptndos geotectonic unit) The Argon field would have probably turned into a lake, if the water had not been drained through a ground rift. In this case, the rift is apparently the cave - sinkhole of Nestani, which is located at the lowest topographic point of the whole field. After a few days (based on modern tracing experiments) the water reappears from this sinkhole in a submarine system of karstic springs in the Argoltc gulf, that in ancient times were known as Dini, located near Kiveri village. The modern name of the springs is Mikros Anavalos or Aghios Georgios Springs. The subsurface hydraulic communication between the Nestani Sinkhole and Dini springs was known to ancient greeks. According to Greek Mythology when Goddess Rhea, one of the mythical Titans, gave birth to the Greek god Poseidon, she left him near a sheepfold next to a spring, which is known since then as Ama Spring (sheep = αρνί = arni, in greek). Rhea didn't present the baby, Poseidon, to his father, Cronus, who was another mythical Titan, as she was afraid of him. At that time, Cronus was the head of the Titans, but fearing for a revolt of his children, he was eating them straight after their birth. That is why Rhea told him that she hadn't given birth to a child, but to a colt (small horse) instead (horse = ίτπτος = hippos, in greek). In this way, Poseidon survived and became one of the most important legendary Gods of the greeks later. A locality is known next to Dini submarine system of kastric springs at the Argolic Gulf, named Genesion or Genethlion (= birthplace), which is considered to be Poseidon's birthplace. Here, in this place, the ancient inhabitants of Argos used to sacrifice horses, whereas not far away from Nestani, at the small village of Milia, the ruins of a small temple dedicated to Hippios (Horsey) Poseidon have been excavated during the last decades. Poseidon is depicted in many pictures, statues, mosaics etc. In a mosaic, Poseidon comes out from the water on a chariot pulled by four horses. A main question is how Poseidon arrived from a mountainous area to the Argolic Gulf. A geomythological interpretation is that a god such as Poseidon, who was responsible for whatever happened in the water (sea, lakes, ground water etc.) and the earth interior (crust, lithosphère), could not follow a mountainous path, for instance the path over mountain Artemision. On the contrary, for such a god it would be much easier to follow the subsurface water-way through the sinkhole of Nestani village, that is the pathway connected to a subterraneous water flow, which reappears to the surface from the bottom of the sea and in this case to the surface of the Argolic Gulf, through Dini spring. In the case of this myth the hydrogeological conditions of the area are directly connected to the mythological action. This is one more evidence that Poseidon is not a God imported from another culture, but a native one.

APA, Harvard, Vancouver, ISO, and other styles

22

García-García, Francisco, Miguel Baños-González, and Paloma Fernández-Fernández. "Structures and Archetypal Content in Advertising Communication." Comunicar 19, no. 37 (October 1, 2011): 187–94. http://dx.doi.org/10.3916/c37-2011-03-11.

Full text

Abstract:

The aim of this investigation is the study of publicity from the point of view of the archetypes, following a hermeneutic model of analysis of the content; through this we have studied the presence of the Greek mythological figures in comparison with the characters that appear in the advertising messages of perfumes, which at first allows us to observe the analogy of the gods of the old Greek Mythology with real human archetypes; secondly, it allows us to dig deeper into these advertising contents to know if these stories are purely commercial or if they could be interpreted with other meanings. The results of this analysis show a high participation of the female archetype of the woman as a wife, related to the goddess Hera, and followed by the archetype of the sensuality represented by the Aphrodite goddess and that of the goddess Artemisia or goddess of liberty; in perfume commercials aimed at men, the biggest frequency in the myth of Zeus and of Narcissus is emphasized, as archetypes of power and success, continued by the presence of the myth of Odysseus, the hero’s archetype, known as a model of strategist and intelligence; in commercials aimed at both sexes the myth of Dionysus as archetype of the party and transformation is the most relevant, followed by the myth of the brothers Hera-Zeus that become husbands and fathers of the Greek Panteon of Mithological Gods.Esta investigación tiene como objeto el estudio de la publicidad desde la óptica de los arquetipos, siguiendo un modelo hermenéutico de análisis del contenido; a través de él hemos estudiado la presencia de las figuras mitológicas griegas más conocidas en comparación con los personajes que aparecen en los mensajes publicitarios de perfumes, lo que nos permite observar en primer lugar la analogía de los dioses de la Antigua Mitología Griega con arquetipos humanos reales; en segundo lugar, nos permite profundizar en estos contenidos publicitarios para saber si estos relatos son puramente comerciales o admiten otras interpretaciones. Los resultados de este trabajo revelan la mayor presencia del arquetipo femenino de la mujer como pareja, relacionado con la diosa Hera, modelo de esposa, seguido en frecuencia por el arquetipo de la sensualidad representado por la diosa Afrodita y en tercer lugar el de la diosa Artemisa o la libertad; en los anuncios de perfumes dirigidos al sector masculino destaca la mayor frecuencia del mito de Zeus y de Narciso, como arquetipos del poder y el éxito, seguido del mito de Odiseo, arquetipo del héroe, reconocido como modelo del estratega y la inteligencia; en los anuncios dirigidos a ambos sexos el mito de Dionisos como arquetipo de la fiesta y la transformación es el más relevante, seguido del mito de los hermanos Hera-Zeus que evolucionaron a esposos y padres del Panteón griego.

APA, Harvard, Vancouver, ISO, and other styles

23

Lambert, W. G. "Ištar of Nineveh." Iraq 66 (2004): 35–39. http://dx.doi.org/10.1017/s0021088900001595.

Full text

Abstract:

Ištar of Nineveh at first glance presents a dilemma for the researcher. While she was a most important goddess, patron of a major town in north Mesopotamia, very little is known about her. As to her importance, in Hurrian religion Teššub and Ša'uška of Nineveh were heads of the pantheon. Here she is given her Hurrian name, Ša'uška. Thus the Mitanni king Tušratta in the Amarna letter no. 23, to Amenophis III, writes that Ša'uška of Nineveh, lady of all the lands (dMÙŠ šauruni-i-na nin kur-kur gáb-bi-i-ši-na-ma), wanted to travel to Egypt and to return. She is further called “lady of heaven” (nin ša-me-e) and “our lady” (nin-ne). Amarna letter no. 24, from the same Mitanni king to the same Pharaoh, refers to Ša'uška of Nineveh as “my goddess” (uruni-i-nu-a-a-we dša-uš-ka-a-wa de-en-ni-iw-wu-ú-a: VS XII 200 iii 98). One might conclude that “lady of heaven” alludes to her as Venus in the sky, but it might also mean the abode of the good gods without any astral allusion. It has been alleged that her wish to travel to Egypt was in the capacity of a goddess of healing, to cure the Pharaoh of his malady, but this is mere speculation. The letter gives no hint of this.This brief international affair illustrates the problems excellently. There is a mass of cuneiform material bearing on the Sumerian Inanna and her Babylono-Assyrian counterpart Ištar, especially hymns and prayers. From them one can extract her major attributes — sexuality and war — and her astral presence in the planet Venus. The occurrence of related gods in other ancient Near Eastern regions — Aštart and Anat in Syria, Aṯtar in Arabia — suggests that the origins of the cult go back perhaps to neolithic time or even earlier, and the certain relationship with the Greek Aphrodite and Roman Venus attests to the power of this cult, however one explains the connection. However, in each Mesopotamian well-established centre of this cult one can assume that local customs and traditions will have added something to the basic “theology” we extract from our general knowledge of the goddess. For Ištar of Nineveh the episode of Tušratta may or may not allude to her star Venus, but otherwise it is totally uninformative about her “theology”. And that is typical for most of the other dated and precisely located evidence.

APA, Harvard, Vancouver, ISO, and other styles

24

Lapatin, Kenneth D. S. "BOY GODS, BULL LEAPERS, AND MOTHER GODDESSES." Source: Notes in the History of Art 20, no. 1 (October 2000): 18–28. http://dx.doi.org/10.1086/sou.20.1.23206961.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Peters, Kyle. "Goddesses and Gods in Rancière and Heidegger." Journal of Aesthetics and Phenomenology 1, no. 2 (November 2014): 149–68. http://dx.doi.org/10.2752/205393214x14083775794916.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Suryajaya, Pamela, and Dyah Gayatri Puspitasari. "Perancangan Komunikasi Visual Film Animasi Pendek “Dewi Yang Kesepian”." Humaniora 2, no. 1 (April 30, 2011): 608. http://dx.doi.org/10.21512/humaniora.v2i1.3074.

Full text

Abstract:

This research is to gain, collecting, and analyze data needed to design short movie animation in 3 dimension technique about gods and goddesses myth in visually attractive so it could attract teenage audiences to send the message. The research method is direct survey to the location, i.e. Pura Merthasari, Wihara Dharma Bhakti (Klenteng Petak Sembilan), National Museum, and library. Besides, it is supported by literature media like books, magazines, and journals and internet references related to topic. The expected result is to reissue the cultural richness of myth in Indonesia so that it could be disseminated in to the myth animation film of gods and goddesses. The overall conclusion in today’s era is that visual communication media like film and television show are attracted teenagers. Therefore, by using animation film media, teenagers will be interested and attracted in national’s gods and goddesses myth, because the local show is just like international show.

APA, Harvard, Vancouver, ISO, and other styles

27

Helmer, Dona J. "Sources: Gods and Goddesses of Greece and Rome." Reference & User Services Quarterly 52, no. 2 (December 1, 2012): 167–68. http://dx.doi.org/10.5860/rusq.52n2.167.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Beckman, Gary, and John Day. "Yahweh and the Gods and Goddesses of Canaan." Journal of the American Oriental Society 123, no. 1 (January 2003): 253. http://dx.doi.org/10.2307/3217888.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Dubisch, Jill. "Encountering Gods and Goddesses: Two Pilgrimages to Greece." CrossCurrents 59, no. 3 (September 2009): 283–99. http://dx.doi.org/10.1111/j.1939-3881.2009.00080.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

HEINRICH, KATHLEEN. "THE GREEK GODDESSES SPEAK TO NURSES." Nurse Educator 15, no. 5 (September 1990): 20–24. http://dx.doi.org/10.1097/00006223-199009000-00005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Sweeney, Deborah. "Gender and Conversational Tactics in the Contendings of Horus and Seth." Journal of Egyptian Archaeology 88, no. 1 (December 2002): 141–62. http://dx.doi.org/10.1177/030751330208800110.

Full text

Abstract:

This article analyses the correlation of conversational tactics and gender in The Contendings of Horus and Seth, focusing on the linguistic behaviour of the goddesses Isis and Neith, and the gods Pre-Harakhte, Seth, and Osiris. During the litigation over the kingship of Egypt, certain male deities, such as Seth and Pre-Harakhte, attempt to achieve their aims by threats and outbursts of rage, tactics seldom adopted by the goddesses in this particular text. Isis, by contrast, tends to assume a vulnerable position in relation to her interlocutors and to persuade them to cooperate with her by offering them attractive rewards. However, the issues of speech and power are subtle and complex, and a simple binary division based on gender cannot do justice to them. This text also represents goddesses acting assertively and forthrightly, such as Neith in her correspondence with the Ennead. Similarly, few male gods are shown emulating Seth's boorish behaviour, from which the whole divine assembly suffers.

APA, Harvard, Vancouver, ISO, and other styles

32

Mundal, Else. "The position of the individual gods and goddesses in various types of sources - with special reference to the female divinities." Scripta Instituti Donneriani Aboensis 13 (January 1, 1990): 294–315. http://dx.doi.org/10.30674/scripta.67181.

Full text

Abstract:

In the written sources the gods are arranged in a patriarchal family structure with Odin on the top. If we try to rank the gods in order of precedence on the basis of the number of instances in the toponymic material, Odin would be found a good way down the list. Generally, we should expect gods connected with the cult of fertility and the agricultural society to be overrepresented in the toponymic material in comparison with a god of war. If we consider our literary sources and ask which of the goddesses' names are most frequently used as basic words in kenningar for women, we see that many of the more "unknown" goddesses are very well represented in this material. In the toponymic material, it was the leading goddess who was considered to be the leading god's wife, but not necessarily. Both Frigg and Freyja belong to the type of fertility goddess.

APA, Harvard, Vancouver, ISO, and other styles

33

Khamitkar, Prasanna E. "Study on the Prabhavalaya: Aureole of Gods and Goddesses." Chitrolekha International Magazine on Art and Design 6, no. 2 (August 4, 2016): 35–52. http://dx.doi.org/10.21659/chitro.v6n2.05.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Williamson, H. G. M. "Gods, Goddesses, and Images of God in Ancient Israel." Journal of Jewish Studies 51, no. 1 (April 1, 2000): 149–50. http://dx.doi.org/10.18647/2248/jjs-2000.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Harris, Rivkah. "A Dictionary of Egyptian Gods and Goddesses. George Hart." Journal of Near Eastern Studies 48, no. 3 (July 1989): 235. http://dx.doi.org/10.1086/373404.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Jacob, Ashna Mary, and Nirmala Menon. "Packaging Polytheism as Monotheism." Religion and the Arts 24, no. 1-2 (April 22, 2020): 84–109. http://dx.doi.org/10.1163/15685292-02401014.

Full text

Abstract:

Abstract This essay deconstructs the godhead that Tolkien constructs in his mythopoeia. Tolkien’s polychronicon, The Silmarillion, splits the godhead between a creator God and a pantheon of gods and goddesses. Tolkien claims that Ilúvatar is a Yahweh-like God and the primary deity; on the other hand, the Valar, the fourteen gods and goddesses created by this primary God, who assist in creation, shape the world, have power over elements, and reign as ‘mistaken gods’ among the Elves, Dwarves, and Men, are not deities. This split of godhead is ignored, and the mythopoeic deity acclaimed as the biblical God and his angels is upheld as a Christian allegory. The essay negates the Christian parallels associated with Ilúvatar and Valar and establishes that Tolkien packages polytheism as monotheism. Monotheism does not permit secondary god/gods. Polytheism on the other hand often features an abstract creator God who creates a polytheistic pantheon. Tolkien’s model, which features a Creator deity and a pantheon of created deities, falls under the second category. The essay infers that Tolkien’s two-tier godhead firstly invalidates the norm of monotheism, and secondly conforms to creator deity and created deity structure of polytheism.

APA, Harvard, Vancouver, ISO, and other styles

37

Budin, Stephanie. "A Reconsideration of the Aphrodite-Ashtart Syncretism." Numen 51, no. 2 (2004): 95–145. http://dx.doi.org/10.1163/156852704323056643.

Full text

Abstract:

AbstractScholars have long recognized a one-to-one correspondence, or interpretatio syncretism, between the Greek goddess Aphrodite and the Phoenician goddess Ashtart (Astarte). The origin of this syncretism is usually attributed to the eastern origins of Aphrodite herself, whereby the Greek goddess evolved out of the Phoenician, as is suggested as early as the writings of Herodotos. In contrast to this understanding, I argue here that the perceived syncretism actually emerged differently on the island of Cyprus than throughout the rest of the Mediterranean. On Cyprus, the syncretism emerged out of an identification between the two queen goddesses of Cyprus - Aphrodite and Ashtart. In Greece, by contrast, it evolved out of a slow "Orientalizing" of Aphrodite combined with a Greek tendency to equate almost all eastern goddesses. As a result, the identification between Aphrodite and Ashtart was quite general, and both goddesses were syncretized not only with each other, but with a full range of Mediterranean goddesses.

APA, Harvard, Vancouver, ISO, and other styles

38

Musurmanov Erkin. "Representations of the origin of the universe in ancient and centrasiatic mythology." International Journal on Integrated Education 3, no. 6 (June 24, 2020): 52–55. http://dx.doi.org/10.31149/ijie.v3i6.406.

Full text

Abstract:

This article discusses the interpretation of the main gods of the Uzbek (Turkic) and Chinese mythology, their similar and distinctive features. Comparing the deities of Chinese mythology Pangu and Uzbek mythology Tengri, as well as the goddesses of Chinese and Uzbek mythology Nyuva and Umai, it is concluded that there is the unity of the genesis of the main gods of the pantheon of mythology of the two peoples.

APA, Harvard, Vancouver, ISO, and other styles

39

Tait, W. J. "A Dictionary of Egyptian Gods and Goddesses. By G. Hart." Archaeological Journal 144, no. 1 (January 1987): 447–48. http://dx.doi.org/10.1080/00665983.1987.11021218.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Roy, Sudipto. "Three Greek Gods and Cilia." Mechanisms of Development 145 (July 2017): S10. http://dx.doi.org/10.1016/j.mod.2017.04.550.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Reiner, Paula, Carl A. P. Ruck, and Danny Staples. "The World of Classical Myth: Gods and Goddesses, Heroines and Heroes." Classical World 90, no. 1 (1996): 73. http://dx.doi.org/10.2307/4351918.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Jones, C. P. "Ten dedications “To the gods and goddesses” and the Antonine Plague." Journal of Roman Archaeology 18 (2005): 293–301. http://dx.doi.org/10.1017/s1047759400007376.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Niditch, Susan. "Book Review: Gods, Goddesses, and Images of God In Ancient Israel." Interpretation: A Journal of Bible and Theology 53, no. 4 (October 1999): 424–25. http://dx.doi.org/10.1177/002096439905300419.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Macleod, Sharon Paice. "Celtic Mythology: Tales of Gods, Goddesses, and Heroes by Philip Freeman." Magic, Ritual, and Witchcraft 15, no. 2 (2020): 294–97. http://dx.doi.org/10.1353/mrw.2020.0026.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Clifford, Richard J. "Book Review: Gods, Goddesses, and Images of God in Ancient Israel." Theological Studies 60, no. 4 (December 1999): 748–49. http://dx.doi.org/10.1177/004056399906000408.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Schultes, Richard Evans. "The world of classical myth: Gods and goddesses, heroines and heroes." Journal of Ethnopharmacology 46, no. 2 (May 1995): 131. http://dx.doi.org/10.1016/0378-8741(95)90011-x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Hossain, Md Kohinoor. "DEATH IN 2020 AND A COVID-19 GREAT EPIDEMIC: AN ISLAMIC ANALYSIS." Psychosophia: Journal of Psychology, Religion, and Humanity 2, no. 2 (December 27, 2020): 126–41. http://dx.doi.org/10.32923/psc.v2i2.1303.

Full text

Abstract:

Only love to almighty Allah is the greatest love. From ages to ages, Allah has sent his messengers to preach only love to Him. Many destructions, disruptions, and explosions have occurred in this world. This paper tries to explore the causes of the great disasters in the world. The global people when they lead an invalid way, there occurs a terrible crisis. None of the worlds saves it. Only Allah can save global people. Today, the present world is full of share-ism, idolatry-ism, usury-ism, zakat-free-ism, killing-ism, injustice-ism, and inhumanity-ism. They practice about Gods and Goddesses. They believe that the sun, the moon, the stars, the trees, the stone, the angels, the jinn, and other animals can reach Allah. They are the dearest persons who are God, Gods, Goddess, and Goddesses related. Above eleven million people think and say that there is no creator of the universe. It is operating as automated. Marriages and sexism are human to animal. They practice as same-sex, polygamy, polygyny, and polyandry. Most of the global people pray to Materials, Death Guru, God, Gods, Goddess, Goddesses, Peer, Saai, Baba, Abba, Dihi Baba, Langta Baba, Khaja Baba, Joy Guru, Joy Chisty, Joy Baba Hydery, Joy Maa Kali, Maa Durga, Moorshid Kibla, Baba Haque Bhandary, Joy Ganesh Pagla, Joy Deawan Baggi, Joy Chandrapa, Joy Sureshwaree, Fooltali Kebla, Sharshina Kebla, Foorfoora Kebla, Joy Ganapati, Joy Krishnan, Joy Hari, Joy Bhagaban and Mazzarians. The new religions have preached in the world such as Baha’i, Kadyany, Khaljee, Din-E-Elahi, Brahma, and Humanism. The world is full of Shirkism, Moonafikism, Goboatism, Bohtanism, Mooshrikiaism, Oathlessism, and Khianotkariism. In the past, undetermined civilizations have vanished but none can save civilization. This Covid-19 great destruction is human-made. It is from climate change that comes to the global people as a great curse.

APA, Harvard, Vancouver, ISO, and other styles

48

VICZIANY, MARIKA, and JAYANT BAPAT. "Mumbādevī and the Other Mother Goddesses in Mumbai." Modern Asian Studies 43, no. 2 (March 2009): 511–41. http://dx.doi.org/10.1017/s0026749x0700340x.

Full text

Abstract:

AbstractMumbādevī is the patron Goddess of the city of Mumbai, one of the largest and most cosmopolitan cities of Asia. Local traditions say that Mumbādevī was a Koḷī Goddess and worshipped by the indigenous Koḷī fisher community for centuries. However, since the turn of the twentieth century the temple of Mumbādevī and the rituals surrounding the Goddess have gradually been Sanskritised. Today, Mumbādevī is more closely associated with the Gujarati community. This paper examines this transformation and in doing so reflects on the survival of Mumbādevī, the ongoing popularity of Goddess worship in Mumbai and the failure of Hindu fundamentalists to subordinate the Mother Goddesses of Mumbai to a more limited range of Hindu Gods.

APA, Harvard, Vancouver, ISO, and other styles

49

Lehmann, Clayton Miles. "Persephone's Nightmare." Ecozon@: European Journal of Literature, Culture and Environment 10, no. 2 (October 4, 2019): 190. http://dx.doi.org/10.37536/ecozona.2019.10.2.3137.

Full text

Abstract:

Abstract Translation of a poem by Nikos Gatsos that sets modern Greek environmental issues against Greek mythology: Eleusis is the setting for the most important ancient shrine of Demeter and Persephone, goddesses associated with Earth’s fertility, and a modern industrial wasteland.

APA, Harvard, Vancouver, ISO, and other styles

50

Ashton, J. R. "OF GREEK GODDESSES AND MATTERS OF LIFE AND DEATH." Journal of Epidemiology & Community Health 57, no. 6 (June 1, 2003): 393. http://dx.doi.org/10.1136/jech.57.6.393.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!