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1

The Legend of Knidia Today

100%
Bažant J.
Eirene. Studia Graeca et Latina
|
2017
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vol. 53
|
issue 1-2
77-110
EN
This paper analyses the story about a young lover who left the semen mark on the marble statue of Knidia by Praxiteles. The findings are threefold. First, we show that the literal interpretation of this ancient story began in the seventies of the 20th century, in connection with a feminist re-evaluation of Western cultural tradition. Second, we argue that the ancient story cannot be taken at face value. The story of Knidia’s lover does not provide information either about the appearance and staging of this marble statue, or the way in which actual visitors behaved in its sanctuary at Knidos. Third, we stress that any interpretation of the Tale of Stain must take into account that its original audience was aware that it was a work of art with tremendous sacred power.
2
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Arsinoe Hoplismene. Poseidippos 36, Arsinoe Philadelphos and the Cypriot cult of Aphrodite

88%
Fulińska A.
Studies in Ancient Art and Civilization
|
2012
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vol. 16
141-156
EN
Epigram 36 of Poseidippos presents the reader with the perplexing image of an ‘armed Arsinoe’, which finds no analogies in the texts and works of art portraying Queen Arsinoe II Philadelphos of Egypt. This paper aims at the interpretation of this particular poetic fragment in the context of the imagery of the armed Aphrodite, on the one hand, and the particularities of the cult of the goddess in Cyprus on the other hand.
3
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The Elements of Comedy and Parody in the Dionysiaca of Nonnus

88%
Lasek A. M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2017
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vol. 27
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issue 3
EN
In this article the author presents the elements of comedy and parody in the Dionysiaca of Nonnus. The analysis of the passages excerpted from the Dionysiaka shows that the composition of Nonnus’ poem is based on the principle of generic variety.
4
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The Shell Motif in the Culture and Architecture of the Ancient Town of Marina el-Alamein in Egypt

63%
Bąkowska-Czerner G., Czerner R.
Études et Travaux (Institut des Cultures Méditerranéennes et Orientales de l’Académie Polonaise des Sciences)
|
2021
|
issue 34
71-91
EN
At the archaeological site of Marina el-Alamein in Egypt, many monuments and everyday objects feature motifs related to Aphrodite and her cult. One recurring theme is the seashell that lamps are often decorated with. In one case, it accompanies the depiction of the goddess herself. This article collects oil lamps with the image of a scallop shell from the research of the Polish-Egyptian Conservation Mission, as well as already published specimens from earlier archaeological research. It has been noted to date that this motif is one of the most common on lamps found in Marina el-Alamein. Shells also appear on architectural elements – in the finials of niches with a religious purpose, located in the main reception halls of houses. In such aediculae they are well exposed, but the use of shells does not arise from the shape of the architectural framing. Therefore, other reasons, possibly symbolic ones, for including this motif in decoration should be considered.
5
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Geneza i początki kultu Afrodyty

51%
Zeman-Wiśniewska K.
Saeculum Christianum. Pismo Historyczne
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2020
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vol. 27
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issue 2
5-18
EN
Aphrodite, the Greek goddess of love and beauty, according to ancient authors, was supposed to have come from Cyprus, where her oldest known temple was located in Palaepaphos. However, the alleged process of transforming the local Cypriot deity into the Hellenic Aphrodite is difficult to trace. Without questioning her Cypriot roots, this article focuses on the issue of the origins of her presence in the Greek pantheon of deities, proving that Aphrodite was from the beginning a strictly Greek (Greek-Cypriot) and not a Levantine deity, whose worship was only secondarily influenced by the cult of Astarte, before she eventually became part of the pantheon of deities revered by the Greeks.
PL
Afrodyta, grecka bogini miłości i piękna, już wg. autorów starożytnych wywodzić się miała z Cypru, gdzie znajdowała się jej najstarsza znana świątynia w Palaepaphos. Domniemany proces przekształcenia lokalnego bóstwa cypryjskiego w helleńską Afrodytę jest jednak trudny do prześledzenia. Nie podważając jej cypryjskich korzeni, niniejszy artykuł koncentruje się na kwestii genezy jej obecności w greckim panteonie bóstw, dowodząc, iż Afrodyta była od początku bóstwem sensu stricto greckim (greko-cypryjskim), a nie lewantyńskim, którego kult  jedynie wtórnie uległ wpływom kultu Astarte, nim ostatecznie bogini ta stała się częścią panteonu bóstw czczonych przez Greków.
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