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Journal articles on the topic 'Roman Goddesses'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Barroso, Maria do Sameiro. "A possible case of Crouzon syndrome in a female figurine from Bracara Augusta from the 2nd century CE." Antropologia Portuguesa, no. 41 (December 16, 2024): 31–42. https://doi.org/10.14195/2182-7982_41_2.

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Artworks are not just objects of beauty but also historical documents that can reveal diseases unknown to ancient physicians, such as congenital disorders. A bronze female figurine from the 2nd century AD, unearthed during excavations in the Roman city of Bracara Augusta, currently the city of Braga, presents intriguing facial features, strongly indicating an underlying medical condition. The abnormal facial traits point to craniofacial dysostosis and, more precisely, Crouzon Syndrome. The portrayed figure wears the walled crown of the city’s patron goddesses, Tyche/Fortuna, the earlier Greek

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Molnár, Annamária. "Ut clare mulieres ampliores sint numero." Antikvitás & Reneszánsz, no. 2 (January 1, 2018): 99–114. http://dx.doi.org/10.14232/antikren.2018.2.99-114.

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Boccaccio, standing between the Middle Ages and the Renaissance, uses specific methods of systematization and techniques when he decides to write (even many times if necessary) the biographies of the goddesses of Greco-Roman mythology. What influences his methods? Is it important which description of a goddess into which work of his – Genealogia deorum gentilium or De mulieribus claris or both – he intends to insert? What kind of literary sources does he rely on while writing these biographies? My paper starts a reckless „Minerva-counting” and describes the problem through the figure of one of

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LiDonnici, Lynn R. "The Images of Artemis Ephesia and Greco-Roman Worship: A Reconsideration." Harvard Theological Review 85, no. 4 (1992): 389–411. http://dx.doi.org/10.1017/s0017816000008208.

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In a recent essay, Nicole Loraux identified a pattern of scholarly dependence on the origins of a particular deity for the interpretation of how human beings at various, specific times and places related to and used that figure to meet the needs of their lives. Shifting social and political conditions, such as the development and modification of the Athenian polis, led to changes in people's religious needs and are reflected by modifications, sometimes radical, in the conceptualization and worship of their gods. Loraux discussed the problems that this scholarly perspective brought to the study

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Molnár, Annamária. "(Isten)nők és Boccaccio." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 55–66. http://dx.doi.org/10.14232/antikren.2018.1.55-66.

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Giovanni Boccaccio, writing his prosaic works in Latin and researching antique and medieval literary sources, as a philologist faces the question of systematizing and evaluating of Greek-Roman goddesses: were they really goddesses or not? How can he reveal his point of view to his readers? What kind of concept stands out in Genealogia deorum gentilium, and how consciously and consistently he uses that later in De mulieribus claris? What are the similarities and the differences between the portraits of goddesses in these two works? This is a maze of Cereses and Minervas, and the reader himself

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Xiang, Junyu. "The Evolution of the Female Image in Western Art from Aphrodite to Rosie the Riveter." BCP Education & Psychology 7 (November 7, 2022): 360–65. http://dx.doi.org/10.54691/bcpep.v7i.2688.

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In this paper, we will discuss the worship of fertility goddesses around the world and how these practices inform female figures as they appear in Western art. Aphrodite, or Venus, is a key figure in our discussion. In this study, we will focus on her origin, figures, and characteristics. We will also investigate female images from the later time when Europe became a fully patriarchal society. These images evidenced a shift from a muscular and curvaceous body to a soft and submissive-looking one. Once the feminist movement was underway, images from the ancient Greek and Roman period were reviv

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Burrell, Barbara. "Iphigeneia in Philadelphia." Classical Antiquity 24, no. 2 (2005): 223–56. http://dx.doi.org/10.1525/ca.2005.24.2.223.

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Abstract A long-misinterpreted Roman provincial coin shows a mythological scene in order to make a remarkable claim: that Iphigeneia, Orestes, and Pylades fled from the land of the Taurians to Philadelphia in Lydia (modern Alaşşehir in Turkey), and there set up their stolen image, identified by the Philadelphians as their patron Artemis Anaitis. This Persianized goddess was generally depicted as an Anatolian image almost identical to the Artemis of Ephesos; it is the bond between the two goddesses that may be the immediate basis of this coin's alliance with Ephesos, but the long-term intent ma

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Vacinová, Lenka. "Vzácná varianta republikánského denáru typu RRC 222/1 / A rare variety of the Roman Republican denarius of the RRC 222/1 type." Numismatické listy 73, no. 3-4 (2019): 130–38. http://dx.doi.org/10.37520/nl.2018.014.

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An extremely rare variety of the Roman Republican denarius of the RRC 222/1 type has been identified recently in the numismatic collection of the National Museum in Prague. The article analyses its iconography in a broader context of the Greek and Roman coinages as well as other visual art styles emphasising importance of consistent differentiation between the goddesses Diana and Luna that are frequently confused one with another even in the scholarly literature.

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Ferri, Naser. "Cults and Beliefs in Pre-Christian Dardania." Godišnjak Centra za balkanološka ispitivanja, no. 41 (January 6, 2022): 135–58. http://dx.doi.org/10.5644/godisnjak.cbi.anubih-41.8.

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Since there are not any epigraphic sources from the times before the Roman invasion of the Dardanian Kingdom (Mbretëria dardane), stone monuments with Latin inscriptions from the period of Roman invasion represent a source of enormous importance for the study of beliefs and cults on Dardan soils, both before the invasion and during the Roman rule, forgods and various cults, which were relicts of earlier times, are represented on epigraphic monuments of the first century A.D.According to the results of studies on about 600 epigraphic monuments dating from the beginning of our era until the time

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Karttunen, Klaus. "Supposed Graeco-Roman Goddesses and Related Matter in the Angavijjā." Indian Historical Review 32, no. 1 (2005): 189–96. http://dx.doi.org/10.1177/037698360503200107.

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Barboş, Andreea Raluca. "Women in the Religious Life of Rome between the 5th and the 1st Centuries B.C." Analele Universităţii "Dunărea de Jos" din Galaţi Fascicula XIX Istorie 9 (December 5, 2010): 11–26. http://dx.doi.org/10.35219/history.2010.09.

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Just as in the case of any other ancient society, religious life always conveyed equilibrium to the public life of Rome and the future of the city depending on it. The women held a very important role in this respect, several cults, ceremonies and festivals being particularly ascribed to them. The priestesses of the goddess Ceres and, later on, those of Proserpina, enjoyed a special prestige within the Roman society. The grain crops and, therefore, the alimentary security depended on the proper performance of the specific rituals pertaining to these goddesses. The Vestals, along with the Flami

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Breeze, Andrew Charles. "The River Wharfe and Verbeia, Celtic Goddess." Traduction et Langues 17, no. 1 (2018): 8–16. http://dx.doi.org/10.52919/translang.v17i1.556.

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The Wharfe is a river of Yorkshire, in northern England. It was known to the Romans as 'Verbeia', also used of their fortress in what is now the town of Ilkley. Although 'Verbeia' is surely Celtic and ultimately gives the modern hydronym 'Wharfe', its meaning has been obscure. Comparison with other Celtic forms yet suggests the sense 'Powerful Striker, she who is Strong in Hitting'', with 'ver' as an intensive prefix and 'beia' related to British and Irish words for 'axe' and the like. The pagan Celts worshipped rivers as goddesses; the Wharfe is a formidable stream, liable to dangerous floods

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Mueller, Sebastian. "The Roman Destruction of the Second Temple in Jerusalem: An Intercultural Conflict between Pietas and Politics." Institute of History and Culture Hankuk University of Foreign Studies 88 (November 30, 2023): 319–52. http://dx.doi.org/10.18347/hufshis.2023.88.319.

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Intercultural encounters in modern and ancient times carry the potential for conflict and it can be assumed that the mechanisms that lead to hostilities between different ethnic or cultural groups follow similar patterns. In the long history of ancient Rome conflicts based on religious differences were, in contrast to current times, the exception. It seems that one of those cases was the Jewish rebellion in 66-73 CE which resulted among others in the destruction of the Second Temple in Jerusalem and the diaspora of Jews across the Mediterranean. The available sources on the conflict are contra

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Hainzmann, Manfred. "Aesculapius et hygia als Dii Maiores?" Studia Europaea Gnesnensia, no. 16 (December 15, 2017): 259–80. http://dx.doi.org/10.14746/seg.2017.16.13.

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In an article published 1997 Géza Alföldy explained his ideas about the generic terms of dii Maiores and dii Magni. For the former term there are still no testimonies with theonymic referents known. This is not the case for the so called „Great Gods”. Exploring all epigraphic evidence including the epithets dominus et domina and other votive formulars, we come to the following conclusions: the dii Maiores rather do not refer to the main roman gods and goddesses but to the classical healers Aesculapius et Hygia. Like other Greek and Roman divinities they were together also invoked as dii Magni.

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Kılıç, Murat. "The Cults of Nemeseis and Tyche at Smyrna." Belleten 78, no. 283 (2014): 833–54. http://dx.doi.org/10.37879/belleten.2014.833.

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Nemesis personified the concept of divine punishment/revenge, while Tyche personified the destiny of a city, a ruler or a person. Both were among the deities that represented the city of Smyrna throughout antiquity. However the importance of the Nemeseis associated with the founding of the Hellenistic city was more dominant. With the worship of her at Smyrna as a pair of deities Nemesis, who already had a deep-rooted in the city, here acquired a local particularity. In the Roman Period, while the games organized for the Nemeseis still continued, the scope of the cult was broadened. On the othe

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Savelieva, Kateryna. "Private places of worship in Tyras during Roman times." Revista Arheologică 21, no. 1 (2025): 48–62. https://doi.org/10.52603/ra.xxi.1.2025_04.

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The aim of this paper is to summarize and consolidate information on private cult practices based on sources found in the residential houses of the ancient city of Tyras. Over years of investigation, several rooms from different houses dating to the 2nd-3rd centuries AD have been excavated. Some of these rooms may have served as home shrines - spaces where families performed religious rituals and made offerings to the gods. Evidence for this includes the discovery of objects associated with cult practices, such as sculptures of deities, votive reliefs, terracotta figurines, ritual vessels, and

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

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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,

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Becker, Thomas. "Women in Roman forts – lack of knowledge or a social claim?" Archaeological Dialogues 13, no. 1 (2006): 36–38. http://dx.doi.org/10.1017/s1380203806261853.

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The classic idea of the Roman army, especially of the legions, is that of a man's world, where discipline and military drill dominate, and where there is no room for women, whatever their social status or function. This idea has been fostered by the picture painted by the antique authors, in which fighting by women is reserved to goddesses (Athena/Minerva) and exceptional personages. The normal female is described as a mother or wife, whose chief occupations were confined to the organization of the household, the up-bringing of the children, spinning and weaving (Marquardt 1975, 58). This role

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Priskin, Gyula. "Az óravigília Peftjauneith koporsóján." Belvedere Meridionale 31, no. 1 (2019): 6–24. http://dx.doi.org/10.14232/belv.2019.1.1.

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According to the Graeco-Roman zodiacs, the appearance of the full moon on the day of the autumnal equinox signified the moment in the astral myth of Osiris when the god was resurrected. The paper argues that the concise version of the hour vigil on the interior surface of the lid of Peftjauneith’s coffin refers to the same mythical episode. Similarly to a few other coffins of the 26th dynasty, Peftjauneith’s composition includes a short exhortative text, a visual list of the hour goddesses, together with their names (twelve for the day, and twelve for the night), and the figure of Nut who is u

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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.

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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 age

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Merlini, Marco. "Antlered Female Deer: The Archeological Perspective on a Phantasmagoric Animal." Acta Terrae Septemcastrensis 23, no. 1 (2024): 19–80. https://doi.org/10.2478/actatr-2024-0002.

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Abstract The article examines the rare phenomenon of a hind crowned as a stag, a creature that only male red deer typically embody due to their antlers. In mythology and folklore, creature is fantastical, akin to the unicorn or phoenix. Only male red deer possess antlers. Hinds crowned as stags are an exceptionally rare phenomenon in nature. In mythology and folklore, this creature is seen as phantasmagoric, akin to the unicorn or the phoenix. Such a being, inherently ambivalent, was often perceived as a monstrum, violating the natural order and evoking both wonder and fear. However, when a ma

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Plemic, Bojana. "The marble head of a statuette from Mediana (excavations in 2001)." Starinar, no. 63 (2013): 237–43. http://dx.doi.org/10.2298/sta1363237p.

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During the archaeological excavations in Mediana in 2001, the head of a marble statuette of exceptional beauty and craftsmanship was discovered. It was an isolated discovery, the sculpture probably having been imported from some Greek artistic centre or an eastern Mediterranean workshop, presenting a part of a larger ensemble of sculptures that had adorned an imperial villa with peristyle. Since the head was found in pieces and being just part of a sculptural representation with no reliable attributes, the question of its identification is a difficult task. It was possible to determine, using

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Yalvaç, Ulaş. "Herakleitos of Rhodiapolis: Addenda et Corrigenda to TAM II 911." LIBRI: Epigrafi, Çeviri ve Eleştiri ve Çeviri Dergisi, no. VIII (February 18, 2022): 1–3. https://doi.org/10.5281/zenodo.6133705.

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The aim of this article is to revise and re-edit an inscription dating to the Roman Imperial Period found in the ancient city of Rhodiapolis, situated in the Kumluca district of Antalya province, Turkey. The inscription, which is a dedication by Herakleitos of Rhodiapolis, was found in the ancient city of Rhodiapolis, in the southeast of Teke Peninsula, Lycia in antiquity. Rhodiapolis, a site termed by locals “Gavuristan’’, was a member of the ancient Lycian League. Herakleitos, who was a priest, doctor, poet as well as a philosopher, was a citizen of Rhodiapolis whose fame e

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Carroll, Maureen. "Hugh Last Fellowship: Mater Matuta and related goddesses: guaranteeing maternal fertility and infant survival in Italic and Roman Italy." Papers of the British School at Rome 84 (September 20, 2016): 342–43. http://dx.doi.org/10.1017/s0068246216000295.

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Beldianu, Corneliu Bogdan Nicolae. "New information about the Great Temple of Anazarbus (Cilicia) brought by an unpublished monetary issue." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 15 (2024): 47–58. https://doi.org/10.47950/caieteara.2024.15.03.

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The temple, with its facade guarded by ten columns (decastyle) from Anazarbus (Cilicia) – currently Anavarza (Turkey), was one of the largest constructions of the Roman era. Its dimensions were close to those of the temple dedicated to the goddesses Venus and Rome, designed and built by Emperor Hadrian; it is the largest religious building in the capital of the Roman Empire. Now, the monumental edifice at Anazarbus, one of the very few temples of antiquity with a facade guarded by ten columns, is practically unknown. The existence of this temple is documented only by a few field observations (

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Hevellyn, Cristine Rodrigues Ganzaroli, and de Freitas Ignácio Ewerton. "O feminino e o mito em Cidade livre, de João Almino." Via Litterae [ISSN 2176-6800] 12, no. 2 (2020): 317–37. https://doi.org/10.5281/zenodo.4632449.

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<strong>Resumo</strong>: O romance <em>Cidade livre</em> (2010), de João Almino, narra histórias cujo pano de fundo é o período da construção de Brasília, cidade planejada e erigida com uma finalidade definida, qual seja a de ser a capital do país. Levando em conta a ideia de construção, este trabalho tem por objetivo traçar paralelos entre as personagens femininas do romance em tela e algumas deusas da mitologia greco-romana (Hera, Héstia, Atenas, Artêmis, Deméter e Perséfone), buscando evi

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Mansi, Hamada. "Study of the dress Through the statues of the Roman goddesses اللباس من خلال الحضارات القدیمة (الحضارة المصریة والحضارتین الإغریقیة والرومانیة)". Conference Book of the General Union of Arab Archeologists 19, № 19 (2016): 1–35. http://dx.doi.org/10.21608/cguaa.2016.29484.

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Shin, Yoon-Seo, and Jeong-Hyun Lee. "Axonometric projection Study for Multilateral Expression of Art Hair." Korean Society of Beauty and Art 24, no. 2 (2023): 265–80. http://dx.doi.org/10.18693/jksba.2023.24.2.265.

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This study intends to explore masterpieces which are characteristic concerning ancient Greek and Roman mythologies and to analyze the underlying meanings behind the allergories of the Gods and Goddesses of Mount Olympus. With the help of computer graphics and 2D Axonometric projection, this study to realize the devised hair artwork by drawing inspiration form the assessed allegories. The significance of computer graphics id that they can be used to create pieces whose expression by hand is simply impossible and try different types of expressions with various new expressive techniques that may

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Vasilyeva, Olga A. "Apotropaic Bes: Egyptian terracotta figurines depicting the god Bes from the collection of the Pushkin State Museum of Fine Arts." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 2 (2022): 243. http://dx.doi.org/10.31857/s086919080015280-5.

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The article examines eight ancient Egyptian terracotta figurines of the Graeco-Roman Period, stored in the Pushkin State Museum of Fine Arts; three of them have not been published before. Five objects were acquired by V.S. Golenischev in Egypt, three come from other sources. The figurines are united by a common style – they were made in the form of the ancient Egyptian god Bes, standing in a tense pose with his hands on knees and, apparently, symbolizing a willingness to fight against malign forces. Most of the figurines belong to the Ptolemaic and Roman Periods, but one item should be dated e

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Uzunoğlu, Hüseyin, and N. Eda Akyürek Şahin. "New Greek inscriptions from Akmoneia and its territory." Opuscula. Annual of the Swedish Institutes at Athens and Rome 16 (November 15, 2023): 169–82. http://dx.doi.org/10.30549/opathrom-16-08.

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This paper publishes nine new inscriptions copied during the archaeological surveys conducted in the Phrygian city of Akmoneia and in its territory between 2014 and 2017. Even though there have been no systematic excavations to date, the city is remarkable due to its rich epigraphic documentation. The new finds make a notable contribution to this. Of the nine inscriptions published here, one (No. 1) concerns the erection of the statues of Koros, the goddesses, as well as of the sacred council, by a certain Hierokles, the priest and the agonothete of the Great Asklepieia. In another inscriptio

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Khairy, Amr Mohamed, and Gamal El-Din Abdel Razek. "The Representation of the God Osiris and His Symbols Between the Goddesses Isis and Nephthys, Till the End of The Graeco - Roman Period." Journal of Tourism, Hotels and Heritage 9, no. 1 (2024): 159–79. https://doi.org/10.21608/sis.2024.318429.1179.

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Dorozhkina, E. S. "IMPERIAL FAMILY WOMEN CULTS IN ROMAN EMPIRE OF THE 1ST – EARLY 3RD CENTURY AD (ACCORDING TO NUMISMATICS)." TULA SCIENTIFIC BULLETIN. HISTORY. LINGUISTICS, no. 3(19) (December 5, 2024): 24–38. https://doi.org/10.22405/2712-8407-2024-3-24-38.

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The article explores the peculiarities of the establishment of the imperial family women cult and the formation of their iconography in the 1st – early 3rd centuries AD Roman Empire. Histori-ography considers the imperial cult as a political phenomenon that was typical for that period, while its sacral and religious aspects began to be covered in studies much later. It was only in the 10s of the 21st century that an active study of the imperial family women cults began. Scholars have considered this sphere in the context of the imperial cult general problematics, and many theses are debatable

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Kellum, Barbara. "Gods, Goddesses, and Mortals for the 21st Century: The Reinstallation of the Boston Museum of Fine Arts Collection of Ancient Greek, Roman, and Byzantine Art." American Journal of Archaeology 127, no. 2 (2023): 293–301. http://dx.doi.org/10.1086/724559.

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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 (2004): 11–12. http://dx.doi.org/10.1108/09504120410565602.

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Witczak, Krzysztof Tomasz. "Liczba podwójna w archaicznej poezji rzymskiej." Roczniki Humanistyczne 67, no. 3 (2019): 107. http://dx.doi.org/10.18290/rh.2019.67.3-6.

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The archaic epitaph of Lucius Cornelius Scipio (son of Barbatus), consul of 259 BC, contains the Old Latin form Tempestātēbus (in the dative), referring probably to two goddesses of weather (CIL I2 9). This theonym proves the existence in the Old Latin language of the dual formation *Tempestātē ‘two deities of weather’. The word aide, attested in the epitaph of Scipio, son of Barbatus, can be easily interpreted as a possible form of the dual number, namely *aideē (nom.-acc. du. f.) ‘a bipartite (two-sided) temple; a sacral building with two sanctuaries’. Livius Andronicus used some forms of th

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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 (2015): 70–79. http://dx.doi.org/10.12737/12542.

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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 &#34;Hippolytus&#34; the main character is the king&#180;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&#180;t bring

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Chiekova, Dobrinka. "The Great Mother Goddess on the Thracian Coast of Pontos Euxeinos: Forms and Traditions." Ancient Civilizations from Scythia to Siberia 29, no. 1 (2023): 11–37. http://dx.doi.org/10.1163/15700577-20232902.

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Abstract This paper focuses on the worship of the Mother Goddess in the Greek colonies on the west coast of the Black Sea from the Archaic to the Roman period. The epigraphic and the archaeological evidence demonstrate the importance of the Milesian colonies in the spread of the cult. The political aspect of the Goddess’s personality is prominent and reminds of her Phrygian position. A Great Goddess very similar to the Phrygian Matar was worshiped in Thrace and on the western shores of the Black Sea before the arrival of the Greeks in 7th century BC. The Greek colonists and the Thracians were

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Bright, Robin Aaron. "Zippo Marx." CINEJ Cinema Journal 6, no. 1 (2017): 71–83. http://dx.doi.org/10.5195/cinej.2017.151.

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Goddesses, like Norse Hel, signify love for women, and between women, because `woman`s seed` is the `seed` of Eve represented by Jesus, who was tortured to death by the Romans as a `dissident` Jewish rabbi nailed to a cross of wood on the hill of Calvary outside the city of Jerusalem in occupied Palestine and left there until he died. Jesus` Resurrection and Ascension to heaven thereafter prefigured that of `woman`s seed`, which is why his mother, the Virgin Mary, approaches to the role of goddess in Christianity, because women who`re loved appear to be worshipped as goddesses by those who don

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Burleigh, Gilbert, and Ralph Jackson. "An unusual Minerva-Fortuna figurine from Hinxworth, Hertfordshire." Antiquaries Journal 89 (July 29, 2009): 63–67. http://dx.doi.org/10.1017/s0003581509990059.

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AbstractA figurine unique for Roman Britain is described and analysed, showing that its attributes conflate those of several classical deities, all of whom might have been associated in the mind of the donor with the Romano-Celtic goddess, Senuna.

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Яценко, С. А. "THE GODS OF SARMATIANS." Proceedings in Archaeology and History of Ancient and Medieval Black Sea Region, S1 (December 9, 2022): 143–84. http://dx.doi.org/10.53737/2713-2021.2022.89.30.006.

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Рассмотрен характер антропоморфизации и вероятная идентификация девяти сарматских богов и богинь. При этом визуализированных женских божеств в два раза меньше, чем мужских. Одни из персонажей были визуализированы лишь в единичном случае, другие имели два или даже три варианта иконографии. Немногие из них визуализированы без явного влияния других культур (№№ 1, 9), в большинстве случаев использовалась греко-римская иконография. Для четырех персонажей прослежен вклад Центральной Азии. Большое значение имеет предположительная идентификация персонажей с конкретными божествами, известными в алано-о

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Borrego, Gallardo Francisco L. "Songs and Hymns for Hathor as Gold from the Old Kingdom to the Late Period. Part I. Corpora of Texts and Complementary Documents." Trabajos de Egiptología - Papers on Ancient Egypt 13 (June 7, 2022): 55–129. https://doi.org/10.25145/j.TdE.2022.13.02.

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The form of Hathor as Nbw ‘Gold’ is one of her least known aspects before the Graeco-Roman period and lacks a specific study. This is partly due to the nature of the sources for the period between the Old Kingdom and the end of the Late Period. In them, she emerges as one of the oldest deities to appear in songs and hymns, dating back to the second half of the Old Kingdom. Analysis of these hymnic and musical contexts provides insights into the Egyptian religiosity and culture of that period and later times. This study has been divided into two parts. The first one is presented her

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Roller, Lynn E. "The Great Mother at Gordion: The Hellenization of an Anatolian Cult." Journal of Hellenic Studies 111 (November 1991): 128–43. http://dx.doi.org/10.2307/631891.

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Gordion, the principal city of Phrygia, was an important center for the worship of the major Phrygian divinity, the Great Mother of Anatolia, the Greek and Roman Cybele. Considerable evidence for the goddess's prominence there have come to light through excavations conducted at the site, first by Gustav and Alfred Körte and more recently by the continuing expedition sponsored by the University Museum in Philadelphia. These include sculptural representations of the goddess and numerous votive objects dedicated to her. The material pertinent to the goddess and her cult in Gordion during the most

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Andrade, Nathanael. "Local authority and civic Hellenism: Tarcondimotus, Hierapolis-Castabala and the cult of Perasia." Anatolian Studies 61 (December 2011): 123–32. http://dx.doi.org/10.1017/s0066154600008802.

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AbstractIn the mid first century BC, a dynast named Tarcondimotus asserted his authority over parts of Smooth Cilicia. Tarcondimotus' successful accommodation of the differing expectations of Roman magistrates, local Greeks and Cilicians was connected to his patronage of the Greekpolisof Hierapolis-Castabala. Through such patronage, he collaborated with municipal elites to interweave Greek and local traditions into the city's culture and cult in ways that produced innovative expressions of civic Hellenism. Likewise, while Hierapolis-Castabala was under Tarcondimotus' protection, its cult to th

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Wyrwińska, Karolina. "The Vestal Virgins’ Socio-political Role and the Narrative of Roma Aeterna." Krakowskie Studia z Historii Państwa i Prawa 14, no. 2 (2021): 127–51. http://dx.doi.org/10.4467/20844131ks.21.011.13519.

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Roman women – priestesses, patrician women, mysterious guardians of the sacred flame of goddess Vesta, admired and respected, sometimes blamed for misfortune of the Eternal City. Vestals identified with the eternity of Rome, the priestesses having a specific, unavailable to other women power. That power gained at the moment of a ritual capture (captio) and responsibilities and privileges resulted from it are the subject matter of this paper. The special attention is paid to the importance of Vestals for Rome and Romans in various historic moments, and to the purifying rituals performed by Vest

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Venit, Marjorie Susan, and Barbette Stanley Spaeth. "The Roman Goddess Ceres." Classical World 91, no. 5 (1998): 440. http://dx.doi.org/10.2307/4352140.

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Kolasińska-Pasterczyk, Iwona. "Interwencja bogini/Szatana? "Wenus w futrze" (2013) – lektura palimpsestowa filmu Romana Polańskiego." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 281–314. http://dx.doi.org/10.21697/zk.2023.10.14.

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Goddess’s or Satan’s Intervention? A Palimpsest Reading of Roman Polanski’s Venus in Fur (2013) The text concerns Roman Polanski’s film Venus in Fur (2013), a multi-layer psychodrama written for two characters, taking place on several levels of human relations: actress vs. director, literary character vs. performing artist, man vs. woman. Venus in Fur has been defined as a kind of palimpsest, i.e. a film story based on the fictional skeleton of other works. Referring to the concept developed by Gérard Genette, who categorized the ways in which different texts interact with each other, the arti

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Hasagić, Sanda. "Orijentalni kultovi na tlu provincije Dalmacije u I stoljeću / Oriental cults in the province of Dalmatia in the 1st century." Journal of BATHINVS Association ACTA ILLYRICA / Godišnjak Udruženja BATHINVS ACTA ILLYRICA Online ISSN 2744-1318, no. 1 (December 1, 2017): 102–12. http://dx.doi.org/10.54524/2490-3930.2017.102.

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The end of the Roman conquest of the territory inhabited by the Illyrian peoples entered the final phase of pacification with the end of the Great Illyrian revolt (6-9 AD). After the establishment of the government, the situation the Romans encountered in the province of Dalmatia was heterogeneous in terms of spiritual and material culture of the peoples that inhabited this territory. Oriental cults started to spread as the result of imperial propaganda, the army, merchants from the east, sailors, immigrants from eastern provinces, freedmen and slaves. The monuments that witness about the pres

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Wessel, Gary M. "Japanese shrine captures Roman goddess!" Molecular Reproduction and Development 81, no. 6 (2014): Fm i. http://dx.doi.org/10.1002/mrd.22347.

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Jeffcoat Schedtler, Justin. "Mother of Gods, Mother of Harlots." Novum Testamentum 59, no. 1 (2017): 52–70. http://dx.doi.org/10.1163/15685365-12341556.

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One of the primary interpretive challenges in the study of Revelation 17 has been to ascertain the identity of an historical personage or entity evoked by the description “Whore of Babylon.” This paper explores a previously neglected figure, Cybele the “Great Mother” Goddess. Through an examination of the artistic, archaeological, and literary evidence relating to the Mother Goddess during the time of her greatest flourishing in the Roman periods, several elements of the description of the Harlot in Rev 17 can be understood to evoke Cybele. Insofar as the Mother Goddess was closely associated

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Subi, Maria. "Troius Aeneas Romana per oppida (Catalepton XIV. Appendix Vergiliana): The Glory of the Aeneid." Analele Universității de Vest. Seria Științe Filologice 62, no. 62 (2024): 15–26. https://doi.org/10.35923/autfil.62.02.

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As part of the Appendix Vergiliana, Catalepton 14 represents a votum, a solemn vow and prayer dedicated to Venus, accompanied by offerings intended to gain the favor of the goddess in disseminating the Aeneid across the Roman world (Romana per oppida). Rich in analogies and reminiscences from Vergil's works, the poem has been the subject of numerous studies, with scholars both denying and affirming its Vergilian authorship, each side supported by compelling and plausible arguments. Regardless of its authenticity, this text remains a valuable and eloquent testament to the epic poem dedicated by

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Gavrilovic-Vitas, Nadezda. "The cult of goddess Fortuna in the Roman Central Balkans." Starinar, no. 71 (2021): 163–80. http://dx.doi.org/10.2298/sta2171163g.

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The cult of the goddess Fortuna has been attested on the territory of Roman provinces in the Central Balkans with numerous votive monuments, sculptures, votive reliefs, statuettes and on glyptics. The goddess was particularly popular among the army, but also venerated by administrative personnel, merchants, freedmen, slaves and women. The epithets of the goddess imply that she was honoured by her devotees as in other Roman provinces - mainly as the goddess of good luck and chance, but also as the protectress of transport, business, routes and perhaps in bathing facilities. Fortuna was usually

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