Texte remanié de: Dissertation--Philosophische Fakultät--Bonn--Friedrich-Wilhelms-Universität, 2005. / Bibliogr. p. 194-204.

Thesis (M.A.)--Ohio State University, 2005. / Includes bibliographical references (leaves 75-77). Available online via OhioLINK's ETD Center

Dissertation--Department of classical archaeology and ancient history--Uppsala university, 1996. / Bibliogr. p. 101-104.

Zugl.: Bonn, Univ., Diss., 2004/2005

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This study investigates the relationship between Aphrodite's literary image and her cultic role in Athenian civic religion. The plays and fragments, especially those in the Aristophanic corpus, demonstrate that in Old Comedy the goddess not only holds the role of sexualized patroness of femininity, but also reflects the political associations of her Athenian cults. Chapter I investigates the cultic role of Aphrodite in Athens and her place within the Athenian religious and social system. At Athens, Aphrodite reveals aspects beyond her popular panhellenic position as a deity of love and overseer of marriage, but never displays the relationships to sacred prostitution claimed in some late-antique sources. Aphrodite's sanctuaries were associated with such putative pioneers of democracy as Theseus and Solon. The uniquely Athenian cult of Aphrodite Pandemos, worshipped in association with Peitho, emphasized her importance in the Athenian political system as a representative of (seductive) persuasion. Analysis shows that the "Platonic" dichotomy between Aphrodite Pandemos and Urania reflects later (mis)readings of Plato's Symposium. The fragments of Old Comedy (Chapter II) illustrate how Aphrodite aided the introduction of female protagonists onto the comic stage, both as hetaerae, who worshipped Aphrodite as their patroness, and Athenian wives, who were comically depicted as licentious and bibulous. Understanding Aphrodite's role as the mediator between comic raunchiness and female decorum helps explain the origins of the erroneous traditions regarding the dedication of prostitutes to the goddess. Chapters III and IV examine Aphrodite in the Aristophanic corpus, with Chapter IV entirely devoted to the Lysistrata. Aristophanes explores Aphrodite's comic persona to highlight the social and political issues of Athens, often associating the degeneration of the city with men's unnatural connection to Aphrodite. In the Lysistrata, Aphrodite plays her most extensive role in extant comedy and exhibits her political associations. The solidarity of the female protagonists depends on Aphrodite's role as a symbol of unification and social reform. The goddess in association with Athena successfully presides over Lysistrata's peace plot as the embodiment of the late fifth-century political slogan of "eros for the city" played out in the seduction of Kinesias by Myrrhine. / 2031-01-01

Thesis (Ph. D.)--University of Oregon, 1999. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-237). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957572.

La présente étude offre un regard nouveau sur les systèmes de croyances religieux grecs et mésopotamiens. Adoptant une démarche comparative et contrastive, la déesse grecque Aphrodite est confrontée à la déesse mésopotamienne Inanna/Ištar. Étudiant de manière interne à chacun des deux panthéons les différents modes d’action des déesses, il s’agit de comprendre comment s’exprime la notion de « pouvoir » divin dans les sources grecques archaïques et les compositions paléo-babyloniennes du IIe millénaire av. J.-C. Parts d’honneur, parures, cortèges sont autant d’expressions des réseaux de pouvoir d’Inanna/Ištar et d’Aphrodite ; ils se transmettent, s’échangent et avec eux circulent les souverainetés spécifiques des déesses. L’enjeu principal de cette thèse est d’étudier les différentes expressions des "pouvoirs" divins dans un même complexe culturel, le monde grec ou la Mésopotamie, d’en saisir les dynamiques internes, puis de les soumettre à comparaison afin d’apporter de nouveaux éclairages sur les fonctionnements des panthéons grecs et suméro-akkadiens. / This thesis project puts forward a new glance on the ancient Greek and Mesopotamian systems of religious beliefs. Thanks to a contrastive approach, the Greek goddess Aphrodite is compared to the Mesopotamian goddess Inanna/Ištar. By studying in the two different pantheons the goddesses’ modes of action “from the inside”, the purpose of this study is to understand how the idea of divine “power” works in the Archaic Greek texts and Paleo-Babylonian compositions from the IInd millennium B. C. Shares of honor, finery, corteges are the expressions of Aphrodite’s and Inanna/Ištar’s networks of power. They can be transmitted or traded and they convey specific sovereignties of the goddesses. Thus, the aim of this thesis is to study different expressions of divine “powers” within two separate cultural structures (the Greek world and Mesopotamia), to catch their internal dynamics, and then to compare the results to shed a new light on the functioning of Greek and Sumero-Akkadian pantheons.

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<p>This dissertation presents a study of the Aphrodite Anadyomene type in its cultural and physical contexts. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but with arms raised, naked and unashamed, exposing the goddess' body to the gaze. Depictions of the Aphrodite Anadyomene present the female body as an object to be desired. The Anadyomene offers none of the complicated games of peek-a-boo which pudica Venuses play by shielding their bodies from view. Instead, the goddess offers her body to the viewer's gaze and there is no doubt that we, as viewers, are meant to look, and that our looking should produce desire. As a type, the Anadyomene glorifies the process of the feminine toilette and adornment and as the goddess stands, naked and unashamed, she presents an achievable ideal for the female viewer.</p><p> The roots of the iconography of the Anaydyomene can be found in archaic Greek texts such as Hesiod's Theogony and Homeric Hymn from the eighth century B.C.E, as well as in paintings of women bathing on red figure vases from the fifth century B.C.E. The Anadyomene type provides a helpful case study to consider the ways that representations of Aphrodite were utilized. Consulting archaeological reports and detailed studies of display contexts make it possible to reconstruct and imagine the original settings for these kinds of works. The known findspots for representations of the Anadyomene can be grouped into four contexts: Graves, Sanctuaries, Baths and Fountains, and Houses. Small objects might have been seen, handled, and used daily that carried connotations and meanings which these ancient viewers would have brought to other more elite or public works.</p> / Dissertation

Aphrodite is one of the oldest deities of the Graeco-Roman pantheon, and her cult has a rich and varied history in its development throughout the Mediterranean and beyond. The goddess has been associated with numerous female deities from other cultures, including Astarte, Inanna, and Ishtar from the Near East; Hathor and Isis from Egypt; and Venus from Rome. The origins and development of the cult of Aphrodite have long been favoured topics in Classical scholarship, with notable works including Friedrich’s "The Meaning of Aphrodite" (1978) and Budin’s "The Origin of Aphrodite" (2003). The nature of syncretism between deities continues to be a popular topic of debate, and collections such as "Transformation of a Goddess: Ishtar-Astarte-Aphrodite" (2014) are produced from conferences and symposiums. Likewise, interest in the history of the Ptolemaic dynasty remains high; in particular, the field of numismatics eagerly anticipates the final release of Lorber’s "Coins of the Ptolemaic Empire" (2018 - ), which will replace the seminal work of Svoronos (1904) as the primary catalogue. Although it is common for works concerning the Ptolemaic dynasty to reference Aphrodite, detailed discussion of her cult often arises only in the context of Arsinoë II, with whom she was syncretized. This thesis aims to bring Aphrodite to the forefront, and produce a cohesive narrative which highlights the role of her cult in the development of the Ptolemaic dynasty. It surveys the presence of the goddess in Egypt to determine her nature and significance, before examining the manner in which her cult was manipulated to the benefit of the Ptolemaic dynasts, predominantly through syncretism to the queens Arsinoë II and Berenice II. The discussion of syncretism is extended to include Isis, whose increasing popularity is connected to the eventual decline of the cult of Aphrodite in Egypt. / Thesis / Master of Arts (MA) / Following the death of Alexander the Great in 323 BCE, his empire was divided between his generals. Ptolemy I obtained control of Egypt, and established a dynasty that endured for over two centuries before falling to Rome. This thesis examines the foundation of the dynasty, and the manner in which Ptolemy I and his early successors secured their power. It focuses on Greek and Egyptian religion, and argues that the cult of Aphrodite was integral to the legitimization and consolidation of the dynasty. Discussion extends beyond Aphrodite to those with whom she was associated, including the Egyptian goddess Isis, and the Ptolemaic queens Arsinoë and Berenice. The aim of the thesis is to highlight the complexities of religious practice, and demonstrate the significance of Aphrodite and the sociopolitical impact of her cult in Egypt and throughout the Hellenistic world.