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Women's roles in greek mythology
Women's roles in greek mythology
Women's roles in greek mythology
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Readers of David Jones often either celebrate or abhor the fact that Jones was a Christian. What many of them do not realize is that Jones was an artist who happened to be a Christian, and his faith actually made him a more powerful and important artist. Jones is so important because of the way he saw the world, and his effort to make his vision experienced by his audience. One of Jones’s important beliefs was that “Myths and archetypes from all periods of the world’s history may find their true fulfillment in the symbolism of Christianity” (Blamires 68). Jones specifically portrays this view in two of his major works—the drawing “Aphrodite in Aulis” and the poem “The Tutelar of the Place.” The female figures depicted in these works are ones that people from all creeds and religions can recognize as the symbols of motherhood, love, sex, warmth, and beauty. Jones is able to work from the particulars he knows and enhance their meaning by relating them to something universal that everyone can understand. It is this very tactic that makes his works so effective. Jones actually felt that the female entity was one and the same for everyone, simply called by some other name. By creating several works that encapsulate all female-cult figures into one deity, Jones shows us the universality of symbolism and religion that many choose to ignore.
This concept of “all female cult-figures” wrapped into one has further evidence from several of Jones’s personal letters and writings. In a letter to Rene Hague, Jones says, “As I have written somewhere, the figure is all goddesses rolled into one—wounded of necessity as are all things worthy of worship—she’s mother-figure and virgo inter virgins—the pierced woman and mother and all her forety...
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Dilworth, Thomas. "The Sleeping Lord." Reading David Jones. Cardiff: University of Wales, 2008. 192-97. Print.
Haas, Brad. "Analysis of Aphrodite in Aulis." David Jones Class. United States, Takoma Park. Mar. 2012. Lecture.
Haas, Professor Brad. "Analysis of Aphrodite in Aulis." United States, Takoma Park. Mar. 2012. Lecture.
Hague, Rene, ed. Dai Greatcoat. Boston: Faber and Faber, 1980. Print.
Jones, David, Paul Hills, and Nicolete Gray. "Aphrodite: Goddess and Courtesan." David Jones. London: Tate Gallery, 1981. 60-62. Print.
Jones, David. "The Tutelar of the Place." The Sleeping Lord. Lundinii: Faber, 1974. 59-64. Print.
Miles, Jonathan, and Derek Shiel. "The Hiatus and the Whole." David Jones: The Maker Unmade. Bridgend, Wales: Seren, 2003. 232-35. Print.
"Virgin and Child (Melun Diptych)." Art and the Bible. Artbible. Web. 25 Apr. 2012.
Wiesel, Elie. "Night." World Views Classic and Contemporary Readings. Sixth ed. Boston: Pearson, 2010. 682-85
Sullivan, Barbara. "Introduction to The Awakening." In The Awakening, ed. Barbara Sullivan. New York: Signet, 1976.
The speech by Pausanius in Plato’s Symposium divides the goddess Aphrodite into two beings, each responsible for a different aspect of love. To prove the existence of her double life he cites her creation. There are two versions of the birth of Aphrodite, one coming from Hesiod’s work, Theogony, where she is borne out of Uranus’ castrated genitals as they splash into the sea; the other is from Homer’s work, the Illiad, where she is said to be the daughter of Zeus and Dione. (Notes on Plato’s Symposium 180e) From these two vastly different creations she takes on two vastly different forms. Pausanius describes one of her forms as “Celestial” love. This type of love springs out of the Aphrodite created from Uranus’ genitals. This form is “wholly male” (Symposium 180c) which inspires men to be a...
From the ornamented caves of the prehistoric era to the surreal colors of impressionistic paintings, art has always been a medium for conveying human thoughts and emotions. By analyzing this artwork, much can be learned about human history, tendencies, psychology, culture, and the like. For instance, by comparing a sunken relief of Horus—considered to be the Egyptian god of the sky, sun, and war—with the Torso of Aphrodite, the Greek goddess of love, many hidden intricacies of Egyptian and Grecian civilization as well as the motives of the artists themselves can be revealed. Each piece of artwork was created in the same general time period (they are both ancient), composed of different materials, guided by social standards, and composed of a spiritual aura; within these similarities, however, lay a myriad of unique features.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
This paper will discuss the well published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomerory uses this book to educate others about the role women have played throughout ancient history. Pomerory uses a timeline to go through each role, starting with mythological women, who were called Goddesses. She then talks about some common roles, the whores, wives, and slaves during this time. Pomerory enlightens the audience on the topic of women, who were seen as nothing at the time. Men were seen as the only crucial part in history; however, Pomerory’s focus on women portrays the era in a new light.
In modern day society, female gender roles are defined in several of forms; ranging from the stereotypical concept of women being the primary caretakers to women being the dominant sex. After analyzing two sources of past literature, two iconic women represent personas of both social standings. In the literary works “Genesis” of The Hebrew Bible; along with, “Lysistrata” by Aristophanes, impactful phenomena take place in the era of these women.
In this essay I will examine the war-of the-sexes taking place in The Eumenides, the final play of The Oresteia. The plot of The Eumenides pits Orestes and Apollo (representing the male gods and, to a certain extent, male values in general) against the ghost of Clytemnestra and the Furies (equally representative of female values.) Of more vital importance, however, is whether Athene sides with the males or females throughout the play.
In modern day society, female gender roles are defined in several of forms; ranging from the stereotypical concept of women being primary caretakers to women being the dominant sex. After analyzing two sources of past literature, two iconic women represent personas of both social standings. In the literary works “Genesis” of The Hebrew Bible; along with, “Lysistrata” by Aristophanes, impactful phenomenons take place in the era of these women.
Sullivan, Barbara. "Introduction to The Awakening." In The Awakening, ed. Barbara Sullivan. New York: Signet, 1976.
Aphrodite was one of the nine that were known as the Great Goddesses, “an awful and lovely goddess,” according to Hesiod (Theogony), born of the foam that ensued when Kronos cut off Uranos’ genitals and they fell into the sea. She first walked ashore in Cyprus, and was welcomed by the Seasons (Hours):
Cortazar, Julio. "A Night Face Up." Themes in World Literature. Ed. George P. Elliott, Harvey Granite, and Morse Peckham. By Philip McFarland. Boston: Houghton Mifflin, 1989. 7-13. Print.
Aphrodite and Athena were both great powerful women who were revered as goddesses in greek mythology. They both were greatly worshipped, however due to their distinct personality traits they were worshipped and spoken about and very different ways. Both goddesses are immortal and female, and both seem to distinguish the incongruous gender roles between men and women throughout ancient Greece. What makes these two goddesses interesting, however, is their differences, which will determine how they will be reflected in myth. On one hand you have Athena, the androgynous goddess of war and wisdom. On the other you have Aphrodite, the goddess of love and sexuality. During this time, even among the immortals, women were seen as inferior and less