Ancient myth and religion

HERA WAS REVERED as a protector by many Greek cities, and subsequently they tried torepresent her surpassing beauty on their coins. While not as common on coins as the goddess of love, Aphrodite, the nature goddess,
Artemis, or the war goddess, Athena. Hera appears on dozens of different coin types. Her signature attributes are the polos, a decorated pillbox hat, or the stephanos, a sort of crown or tiara. She is sometimes depicted “veiled”,with a fold of her garment draped over her head. Hera’s companion animals were the cow,the cuckoo, and (especially) the peacock.

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Amb l’art del gravat de les pedres precioses i semiprecioses, a
més dels metalls, la indústria de la joieria va experimentar un
autèntic desenvolupament en les societats antigues, i els
romans no en foren l’excepció. La glíptica mostra, a través d’una
iconografia complexa, amb un estil i un detall més que destacats
tot el recorregut de la història de l’art de les societats antigues en
general i de la societat romana en concret. A través de les peces
conservades a Baetulo, podem entendre millor els usos reals
d’algunes peces i entendre-les des de la seva pròpia perspectiva.

A medieval legend had dragons with healing powers living on the mountain. A chronicle from 1619 reads: 'as I was contemplating the serene sky by night, I saw a very bright dragon with flapping wings go from a cave in a great rock in the mount called Pilatus toward another cave, known as Flue, on the opposite side of the lake'. This legend was the inspiration for Steven Reineke's famous concert band piece, Pilatus: Mountain of Dragons.
Mount Pilatus
A few different local legends about the origin of the name exist. One claims that Pilatus was named so because Pontius Pilate was buried there.[citation needed] However, a similar legend is told of Monte Vettore in Italy. Another is that the mountain looks like the belly of a large man, Pilate, lying on his back and was thus named for him.
The name may also be derived from "pileatus," meaning "cloud-topped."

The recognition of the hidden curriculum results from a deep insight into inner layers of pedagogy, which in turn involves varieties, complexities, with obvious and hidden dimensions. The present research aims to explore important, recurrent factors in the hidden curriculum, and examine possibilities for their improvements using the Islamic practical ethics. It uses two research methods, starting with quantitative content analysis of 25 researches on the topic. A series of five recurrent factors are thus identified: power hierarchies, unhealthy competition, ambiguity of the tutor’s didactic procedures, unreality of designs, and the preference of the visual product over the process. A descriptive-analytic approach is then adopted to explain and evaluate these factors based on quintuple realms of human existence. Taken from the Islamic ethical order, these realms in turn comprise of three internal realms of beliefs, emotions and will on one hand, and two external realms of utterance and action on the other. The results show the possibility of practical approaches based on the Islamic ethical order for all three parties involved in the school – students, tutors, staff – the implementation of which would make grounds for ethical reforms and improvements of the hidden curriculum.

This contribution discusses the agricultural units defined as gardens (giš-kiri 6 or giš-nu-kiri 6) in the archive of Palace G at Ebla. Here, gardens can be understood as consisting of fruit tree groves, although the available documentation does not offer many hints at the kinds of crops cultivated in these plots. Indeed, most evidence rather concerns the relevant workers, among which can be distinguished proper "gardeners" (giš-nu-kiri 6), that is, adult male skilled workers; "apprentice gardeners" (dumu-nita giš-nu-kiri 6), who could be the sons of gardeners; and, sporadically, also women (dam). Individuals from both foreign and local centers are classified as gardeners. Indeed, garden produce was not simply conceived as foodstuffs for consumption, but also as delicacies employed within diplomacy between states.

Il y a quatre mille ans, bien avant que l’histoire de l’Arche de Noé ne soit écrite dans la Bible hébraïque, les Sumériens et les Babyloniens de l’ancienne Mésopotamie connaissaient déjà l’histoire du déluge et du fameux bateau qui a sauvé tous les animaux. Le héros babylonien de cette histoire, Atra-hasīs, a été - tout comme Noé - chargé par ses dieux de construire un navire pour assurer la sécurité de sa famille et de tous les animaux jusqu’à la fin du déluge.

À travers les yeux de son plus jeune fils, Très-Vif, suivez cette aventure et plongez dans l’Histoire et les mythes de l’antique Mésopotamie.

I. Finkel, spécialiste du cunéiforme au British Museum base son histoire sur de véritables tablettes cunéiformes pour nous livrer ce recit d’apocalypse et de survie qui a su traverser le temps. Cet ouvrage enrichi de nombreuses illustrations en couleurs ravira petits et grands.

- Ouvrage paru initialement en anglais (Thames & Hudson) -

The panel is focusing on the recent ecological outcome and effect of the Anthropocene in the paths of myths and artistic/cultural/anthropological interdisciplinary narratives. Under the lights of the theoretical frame of post-humanism; this panel will discuss practices and field experiences in diverse geographies and cultural backgrounds of Italy, Greece, and Turkey by focusing on several cultural myths more-than-human world and the impact of the era of the Anthropocene.

Panel: https://vimeo.com/876852595
Batman University, https://ijephss.com/

Motifs and traditions as analytical units No fixation of a story or a description of cosmological ideas is an exact copy of any other. Even minor differences between variants can become important in light of further research. The mapping of such details in the global, regional or local scale can reveal regularities crucial for understanding of different historical processes.

Just as a non-existent type of artificial intelligence can be imagined in today's science fiction novels or movies, some scholars believe that intelligent machines, and accordingly, weaker or stronger types of artificial intelligence that are technologically impossible to exist are also imagined in the Homeric poems. In this study, not all of the passages associated with artificial intelligence, but only Hephaestus’ self-moving tripods (automatoi tripodes) described in the 18th book of the Iliad have been re-evaluated and analyzed as a metaphor for the first time. As the result of this analysis, a new suggestion is made that Hephaestus’ tripods (the three-legged cauldrons) symbolize Achilles’ incomplete journey, and the passage depicting the tripods is the closure of the first half of the epic, which narrates the Achilles’ anger against Agamemnon, and the depiction of the shield of Achilles is the opening of the second half, narrating the hero’s anger against Hector. The fact that the closure and the opening take place just in the middle (26th day) of the main story lasting 51 days (25 + 1 + 25), and the mirror image of two different types of anger directed first against Agamemnon and then against Hector strengthens the ring-composition of the epic.

Keywords: Homer, Hephaestus, Tripods, Bellows, Artificial Intelligence, Metaphor

In the True Grail Castle
The Arthur Legend reloaded: Arthurus and Anthea (German Edition)
German Edition by Ingeborg Christel Spiess (Author)
Since even the Knights Templar were not able to find the true Grail castle on earth, the author and publisher of this book set out as a shaman over a period of about three quarters of a year in the spiritual world to look for it there. Not only did she find the real Grail Castle and the Holy Grail, but she was also able to discover the two castles next to her height. Much interesting information about the meaning of the Grail and the three castles, but also about King Arthur's Round Table can be found in this book, as well as the great surprise that Jesus and his apostles are also the "Knights of the Round Table" and "King Arthur" is identical with the great revenant St. Germain. This book helps to see the Grail legends in a completely different light and is a novelty in legend interpretatio.

Hall of the Giants: the fresco of the Fall of the Giants was painted between 1532 and 1535, covering the room from the walls to the ceiling with the illusionistic representation of the battle between the Giants trying to climb to the Olympus and Zeus. The Sala dei Giganti is one of the most famous frescoed rooms inside Palazzo Te, designed in Mantova by Giulio Romano.

The Empire and the Giants
The second part of virtual tour centres around the painting of the Giants, who are desperately attempting to conquer the mount Olympus. It is an allegory of the pointless rebellion of the enemies of Carlo V and of the Empire. The frescoe creates a particular atmosphere, highlighting the cave-like appearance of the room that is similar to a grotto or an ancient tomb.
A marvellous art work that still today fascinates visitors: the Hall of the Giants, a room made to look like a cave, is decorated with representations of monstrous creatures waging an attack on the Mount Olympus and the heavens. Jupiter is fighting to defend his children. Giulio Romano turned the vault into a sky, with a series of not concentric circles. The perspective reaches a climax, something that was later imitated by many artists, with a canopy under which stands the throne of the king of the gods. Significantly it is empty, although there is an eagle that represents both Jupiter and the empire. The entire representation also has a political meaning, in that it alludes to the triumph of Charles V and the defeat of his enemy. It is interesting to see how the painter, probably Rinaldo Mantovano, creates a chaotic and indistinct crowd of divinities, almost hidden behind the white clouds, frightened by the march of the Giants who are about to fall, hit by lightening.

In a curious but coherent way, the sky ends behind Jupiter’s canopy just as a vault would. The heavens are closed, in a manner that is characteristic of Giulio Romano’s art, that combines an invented reality with an artificial space. The twelve columns, almost hidden by a cloud, support the imaginary part of the cupola and trace another circle, a third one with respect to the one formed by the clouds and the one created by the canopy. The result is a celestial chart, that the Giants intend to destroy.

If they were just 'fantasy and legends', why spend so much fortune and attention on them?

El texto se centra en el análisis de los Deberes del Visir y su relevancia para comprender las funciones y responsabilidades del visir, el funcionario de más alto rango en el antiguo Egipto. A diferencia de otras fuentes que abordan aspectos específicos, este documento proporciona una visión completa y detallada de las tareas que el visir llevaba a cabo bajo su supervisión, lo que revela un sistema de gobierno altamente centralizado. El texto destaca tres tareas esenciales del visir: el control del pr-nsw (palacio real), la gestión administrativa y su función judicial

Las leyendas sobre las míticas guerreras amazonas surgieron entre los helenos mucho antes de los primeros relatos asociados a Homero. No en vano, en su epopeya menciona por su nombre a la reina amazona Mirina, cuyos restos afirma se encontraban a los pies de la muralla de Troya como recuerdo a sus hazañas militares. Durante siglos, decenas de autores greco-romanos mencionaron de un modo u otro el carácter combativo de las amazonas, recordando sus famosos enfrentamientos contra héroes tan distinguidos como Heracles, Aquiles, Teseo o Belerofonte. Sin embargo, aunque su recuerdo aun pervive en la memoria colectiva, la mayoría de los citados texto se refieren a las amazonas asiáticas, que se decía fundaron su reino junto al Termodonte con su capital, Temiscira.
Pocos son los autores que recuerdan la aparente existencia de otra tribu de amazonas supuestamente afincada en algún lugar de la costa noroccidental africana, que comandadas por su reina Mirina, atravesaron la Cirenaica, Egipto y Levante para alcanzar Asia Menor y conquistar numerosos territorios donde fundaron importantes ciudades como Éfeso antes de enfrentarse a una coalición formada por tracios y escitas. El mundo militar siempre ha favorecido la mención a grandes gestas como forma de glorificación, y los relatos amazónicos fueron concebidos como una forma de engrandecer a los héroes patrios que alcanzaron la gloria con sus victorias en nombre de su pueblo. Sin embargo, aunque los mitos asociados a las amazonas asiáticas cumplieron con esta misión principal, aquellos vinculados a sus homólogas asiáticas tenían otra finalidad, relacionada con el prestigio que suponía para muchas póleis próximo-orientales convertir a las amazonas en sus heroínas epónimas. Decenas de cecas acuñadas en Esmirna, Éfeso, etc., las recuerdan, por lo que el valor de sus gestas como topos literario alcanzó un enorme prestigio en la Antigüedad.

Presentación (y algunas conclusiones) del monográfico "El ciervo, el caballero, el hada y el santo" de la Revista de Poética Medieval (37, 2023): Las interpretaciones míticas de los ciervos se suceden desde las religiones primitivas y, más concretamente, desde los vestigios arqueológicos y los primeros testimonios literarios conservados: sumerios, indoarios, hititas, la Biblia... A partir de estos datos y, particularmente, de las investigaciones realizadas por los participantes en este monográfico, se traza el itinerario esquemático de lo que puede ser una historia de sus adaptaciones hasta el siglo XVI.

Nurses and pedagogues are present in ancient Greek upbringing and education. These nameless slaves cared for and accompanied their masters from infancy to adulthood, intervening in their moral formation thanks to their share of popular tradition. The knowledge they possessed, its transmission at home, and the evolution of their roles during Greek antiquity are the subject of this study, for which we will use classical tragedy and Platonic writings on the new education as our main sources.

culturally and philologically excavates "joy" from the Hebrew Bible through Yeats and beyond. In the present volume, he provides a similar service for the concept (or emotion or virtue) of hope. Potkay begins with the ancient Greeks-Hesiod, Aeschylus, Pindar, and Thucydides-and carries his survey through modernism-Kafka, Camus, Ellison, and Beckett. Throughout this process, he combines a probing historical imagination, a sharp critical discernment, and a deft eye for textual explication, along with the gifts of a good storyteller, to provide a thoroughly accessible yet intellectually engaging account. Each of the five chapters takes up a distinct cultural episteme: classical, Christian, Augustan, Romantic, and modernist. In each, Potkay elucidates the antinomies both positive and negative-and many complexities in between-that philosophers and literary artists have discerned and developed in their deployment of "hope." The first chapter, focusing upon Greek and Roman antiquity, exhibits the limits and restrictions these two intertwined worlds imposed: hope as deceptive, as irrational, as productive of fearfulness, as distracting from the present moment, and as squandered on things devoid of authentic value. A

Nueva aportación (2023) de Thomas Römer al tema de estas relaciones, que han cambiado radicalmente en los últimos 50 años. Probablemente debemos cambiar incluso el lenguaje, las categorías, los nombres... en la medida en que hemos cambiado de paradigma nos regimos por los criterios actuales en cuanto a método, exigencia, desmitificación, apertura global, desconfesionalización y deseclesiastización; simplemente, búsqueda de la verdad, sin atajos, sin mitos, sin revelaciones impositivas, sin colonizaciones.

The article deals with the history of the usage of several Greek terms from the lexical field of μάγος and μαγεία. It follows their occurrences from the earliest attestations in classical Greek literature up to the New Testament as well as in the translational texts of the Septuagint. The terms are examined in contrast with some other semantically related notions such as γόης. In the case of LXX, the relation of the translational Greek to some of the original Aramaic and Hebrew terms is briefly discussed. Conclusions are made as to the degree of pejorative load in μάγος
and its derivatives and their relation to notions in the semantic field of ‚religion‘, to the extent that the latter can be clearly delineated in Greek culture. It is also observed how the system of concepts in the field of magic and witchcraft changed with the expansion of Greek culture in Hellenistic times as well as with the advent of Christianity.

Wachsmann, S. and D. Sanders. 2023. Reconstructing a Late Archaic-Period Dionysian Ship Cart. Collection of Papers of the Faculty of the University of Priština 53(3): 135-169.

The Greek deity Dionysos had a particular affinity for war
galleys, a relationship perhaps explained by the Homeric Hymn to
Dionysos in which Tyrsenian pirates kidnap him on their galley. Soon
grape vines entangle the rigging and some of the pirates attempt to
escape their fate by jumping into the sea: Dionysos transforms them
into dolphins. This hymn served as an occasional motif in pagan art
and may explain the miniaturized replicas of seagoing oared ships
that played an integral role in the ancient Dionysian cult. These flimsy
Dionysian ship carts moved overland in parades, either on wheels or
upon the shoulders of celebrants. While the earliest examples may date
to the Late Bronze Age, they are best known from a series of three late
Archaic-period representations on black-figure skyphoi, now in museums
in Athens, Bologna and London. No two Archaic-period Dionysian
ship-cart representations are identical in all details. While perhaps due
to painters’ whims, this diversity in appearance may reflect changes to
the ship carts at each annual appearance, analogous to modern-day parade
floats. Due to the two-dimensional nature of these ship-cart images,
it is impossible today to determine whether the Dionysian ship carts
reflected in them consisted of actual vessels—purpose-built and placed
on wagons during the procession, employed solely for the Dionysian
celebrations—or floats in the form of miniaturized galleys. This paper
supplies context and explains the process of creating a three-dimensional
digital reconstruction of a generic Late Archaic-period Dionysian
ship cart employing contemporaneous imagery and artifacts.

Water is often considered a self-explanatory subject by ancient and modem sources alike and as such has not always received the critical attention it deserves. Ginouves Balaneutike (1962) remains the one major publication to date. This thesis contributes to a renewed interest in the subject and explores the presence ot water in ancient Greek religion in the regions of Attica, Boeotia, Corinthia and the Argolid. It uses Pausanias’ Periegesis as a useful guide although it is not limited to the sites described by the ancient traveller. The thesis takes an interdisciplinary approach and uses both material and literary sources in order to assert the role played by water and the powers it was attributed in cult. Beside this traditional approach, the thesis also explores the question of water as a spatial component in the ancient Greek set of beliefs. For this, it draws on structuralist theories and the more recent development ot landscape studies in ancient Greek history.

The First half of the thesis is organised by geographical area and surveys the sites where water had a known religious importance, thus making it possible to compare on a small scale between individual sites and, on a larger scale, between whole regions. Particular attention is paid to a relatively unknown site, the Kyllou-Pera in Attica, which epitomises the characteristics of the sites studied in this thesis as well as the problems created by unclear literary and archaeological evidence. A study of the various qualities and powers attributed to water by the ancient Greeks lollows, where the previously surveyed sites and sanctuaries are used as a basis lor the interpretations. The thesis finally describes how water possessed a strong spatial dimension and was as such an integral part of the ancient Greek religious landscape.

The Authority of the Word of Religious Experts and Seers in Greek Literature

This presentation is about the authority of the word among:
- poets, religious experts (Orphics), thinkers and seers
- their close relation to politics
- focuses on the important connection of poetry, performance, music, healing, mantic in archaic Greek culture
- it is a contribution to the history of the concept of authority and the role that authority and authorities play in religions
- last not least it gives insight into the prehistory and basis of Western poetry and philosophy: the Greeks as "das nächste Fremde" (Uvo Hölscher)

This paper examines the scope of the medical researches at Knidos and also the lives, social status and medical views of Knidian physicians. Besides some assessments on the status of the god Asklepios in the
religious spectrum of Knidos are attempted in the light of epigraphical and numismatical evidence. Ancient sources that survived put forward Kos and Knidos as the prime centers of medical researches in the 5th and
the 4th centuries BC. In this period the physicians of Knidos, in a rivalry with physicians of Kos, earned great reputation and fame. At Knidos and Kos, there were Asklepiadai, the clan of physicians that claimed to be
the descendants of Asklepios over his son Podaleirios. The physicians of Knidos known through the ancient sources are Euryphon, Herodikos, Ktesias, Eudoxos, Khrysippos son of Erineos, Khrysippos son of Aristagoras and Khrysippos son of Khrysippos. Additionally the inscriptions provide information about the physicians of
Knidos who lived in the Roman Imperial Period. Despite the reputation of the physicians of Knidos and the belief that these physicians were the descendants of Asklepios, there is a lack of evidence about the religion
of Asklepios at the city. Also any definitive evidence for the existence of a temple dedicated to the god or of a priesthood in service of the god haven’t been discovered yet. Furthermore, the coins of Knidos with depictions of Asklepios are rare and the known coin types are dated to late 2nd-early 3rd century AD.

Animal husbandry was of crucial importance for the economy of Iron Age societies: Livestock not only was a source of meat, milk and wool but also helped maintain supra-regional networks by providing draft and pack animals. This approach is particularly true for the Alps, where due to extreme climatic and topographic conditions in many regions,
arable farming was possible only to a limited extent. However, archaeozoological investigations during the last seven decades also revealed that different systems of animal husbandry evolved during the Hallstatt and La Tène Periods in the Alps, depending on the varying cultural and environmental factors. Our paper discusses these regional patterns in Alpine Iron Age livestock farming by comparing three model regions: The Dürrnberg near Hallein, the Tyrolian Inn Valley including the Northern Limestone Alps and the Bressanone Basin

I musei civici di Padova organizzano un incontro con Pasquale Ferrara (Universität Potsdam). Introduce Francesca Veronese, (Musei Civici di Padova).

La menade è figura senza tempo e quintessenza del dionisiaco: in essa tutto è sfuggente e mutevole, né mortale né divino, né umano né animale, né morale né immorale. Muovendosi, nel corso dei secoli, tra il mito e la storia, la menade è stata ardente seguace di Dioniso, cacciatrice, combattente, vittima e carnefice, medium e sacerdotessa, santa e prostituta, casta e ninfomane, modello e anti-modello di donna. Proprio tali caratteristiche hanno permesso alla menade di continuare a vivere e sopravvivere nel corso dei secoli. Ma al contempo, è proprio tale natura poliedrica che rende arduo, ancora oggi, ricostruire il complesso mosaico della menade, poiché ogni tessera – dai contorni spesso indefiniti e dai colori sempre sfumati – si fonde e confonde con l’altra.

Due sono i percorsi di questo viaggio affascinante alla ricerca di focalizzare la menade nel tempo: il primo si sofferma sul modo in cui le menadi – donne del mito e della storia – sono state percepite e considerate nell’Antichità tra la Grecia e Roma; il secondo, invece, è incentrato sulla ricezione della menade nella cultura moderna nel tentativo di individuare ciò che proviene dalla menade greca e ciò che invece deriva dalla baccante romana.

Öz: Deniz ve tatlı su ürünleri Lykia ve Pamphylia kıyı kentleri için önemliydi. Her iki bölgede belgelenen tatlı su balıkçılığının yanı sıra Pamphylia Körfezi’nde hellops (mersin balığı), Gelidonya Burnu açıklarında ise anthias (berber balığı) yakalanıyordu. İki papirüs Kaunos’tan ithal edilen tuzlanmış balıktan bahseder. “Lykia Eyaleti Gümrük Yazıtı”nda purpur üretiminde kullanılan deniz kabuklusu bölgenin tekel ürünleri arasında anılır. Platon ve Plutarkhos’un iddialarının aksine ritüellerde de önemli bir yere sahip olan balık Phaselis’in kuruluş efsanesinde etkin bir figürken, Kelbessos’ta Artemis’e balıkçıların hamisi olarak tapılıyordu. Myra teritoryumundaki Sura, Apollon’un balık kehanetiyle ünlüydü. MÖ IV. yüzyıldan itibaren varlığı belgelenen (TAM I no. 84) kültün ünü MÖ II. yüzyılda Lykia sınırlarını aşmış; hatta MÖ I. yüzyılın başlarında Ptolemaios sarayına kadar ulaşmıştır. Bu sırada inşa edilen tapınağın cella duvarlarındaki yazıtlarda Apollon Anadolu tanrısı Sozon ile özdeşleştirilir. Plateia kelimesinin semantik evrimi, imparatorlar onuruna adlandırılan Sebaste Plateia’nın, kehanet sürecinin organizasyonuyla ilgilenen bir icra kurulu olarak anlaşılması gerektiğine işaret eder. Balık kehaneti Limyros Çayı’nın kaynağında da uygulanıyordu. Bazı Hitit belgeleri Yunan dünyasında benzersiz olan balık kehanetinin Kizzuwatna (sonraki Kilikia) ritüellerine kadar takip edilebileceğini gösterir.

Abstract: Sea and freshwater products were important for the coastal cities of Lycia and Pamphylia. In addition to the freshwater fishery documented in both regions, hellops (sturgeons) and anthiai (serranus anthias) were caught in the Pamphylian Gulf and in front of Cape Gelidonya respectively. Two papyri mention salted fish imported from Kaunos. The Customs Law of Lycia lists the shellfish used in the production of purple dye among the monopoly products of the region. Having an important place in rituals contrary to the claims of Plato and Plutarch, the fish was an active figure in the foundation myth of Phaselis,  while Artemis was worshiped as the patron of fishermen in Kelbessos. Sura in the territory of Myra was famous for Apollo’s ichthyomancy. Documented from the 4th century BC (TAM I no. 84), the cult’s reputation extended beyond the borders of Lycia in the 2nd century BC and even reached the Ptolemaic palace at the beginning of the 1st century BC. In the Inscriptions on the cella walls of the temple, built in this period, Apollo was identified with the Anatolian god Sozon. The semantic evolution of the word “plateia” points out that Sebaste Plateia, named in honor of the emperors, should be understood as an executive committee concerned with the organization of oracular process. Ichthyomancy was also practiced at the source of Limyros. Some Hittite texts indicate that the origin of ichthyomancy, unique in the Greek world, can be traced back to the Kizzuwatnian (later Cilicia) rituals.

­This paper attempts to outline some possible items for future research regarding Populonia and its hinterland. In the future we should try to indicate new directions for research on ancient landscapes. Among the aspects that need to be explored are: the relationship between the city and its suburbs; a better framing of some issues of historical geography
still in doubt; the layers of landscape directly or indirectly related to the various economic and social actors active in this context; influences arising from the different uses of the supply basins in time. Finally, it would be appropriate to enhance the external contributions in terms of the dissemination of technologies and culture in general.

This paper attempts to outline some possible items for future research regarding Populonia and its hinterland. The knowledge of the birth and growth of the city owes a lot to the research of Gilda Bartoloni and her school. In the future, we should try to indicate new directions for research on ancient landscapes. Among the aspects that need to be
explored are: the relationship between the city and its suburbs; a better framing of some issues of historical geography still in doubt; the layers of landscape directly or indirectly related to the various economic and social actors active in this context; influences arising from the different uses of the supply basins in time. Finally, it would be appropriate to
enhance the external contributions in terms of the dissemination of technologies and culture in general.

Serie Divine della Dea
- Afrodite Noetica ossia la Bellezza Divina, τὸ θεῖον κάλλος, ossia la Bellezza Noetica, νοητὸν κάλλος, di forma simile al Bene, ἀγαθοειδές = τὸ πρώτιστον καὶ ἑνιαῖον κάλλος, che è separato ossia superiore rispetto alle entità belle fra le masse corporee, e alla proporzione insita in esse, alla giusta armonia dell’anima, allo splendore intellettivo e alle seconde e terze processioni degli Dei. La Bellezza assoluta o Bellezza-in-sé, Αὐτοκαλλονή/Αὐτόκαλλος Αὐτόγονος, ossia ciò che, “generato da sé”, illumina tutte le Enadi sovraessenziali delle classi degli Dei e poi rende belle e degne di Amore tutte le serie degli Enti, fino al mondo del divenire. 
- Afrodite Ourania, ossia la Dea che ha il Cielo Noetico-e-Noerico come principio generativo e Crono, l'Intelletto puro, come Causa strumentale. La “Vergine venerabile … Hypercosmica, Elevante verso la Bellezza Noetica e Dispensatrice di vita incontaminata, e che separa dalla generazione.” E' anche la “Madre di Ananke”; Afrodite nei Giardini; Ἰδαία Κυβήβη/Κυβηλίς; la “più antica delle Moire”; Afrodite-Nemesi. Da qui procede anche l'elevazione delle anime: “l'essere perfettamente erotico, di cui si prende cura Afrodite, ascende verso la divina Bellezza stessa.”
- Afrodite figlia di Zeus e di Dione, la Dea che “dirige tutte le serie coordinate che si trovano nel Cosmo celeste e sulla Terra, le collega tra loro e rende perfette le loro processioni generative per mezzo del congiungimento armonicamente concorde.”  La Causa Hypercosmica della Philia, “Speranza di tutto il Cosmo”: “il Demiurgo fa nascere Afrodite in modo che bellezza, ordine, armonia e comunione possano splendere su tutti gli esseri encosmici, ed ha creato Eros come suo compagno, che unifica tutto il Cosmo.”
A questo livello appartengono anche le “Nozze Noeriche” fra Afrodite Urania e “il fiammeggiante Efesto”: “per chi non è completamente cieco, il Cosmo è sovranamente bello…ed è per questo giustamente che i Teologi hanno iniziato unendo Afrodite ed Efesto, ed è solamente allora, come essi dicono, che Egli forgia l'Universo.” A questo stesso livello, e a quello immediatamente successivo, appartiene anche il legame con Ares e l'imprigionamento ad opera di Efesto: “è per questa ragione che i Teologi, dal momento che ritenevano che le cause di tutto ciò che esiste si trovano presso gli Dei, dopo aver unito insieme Ares ed Afrodite, li avvolgono di catene che sono opera di Efesto – infatti è Efesto che è causa del fatto che l'alterità nel Cosmo sia contenuta dall'Armonia e dalla Philia e che nelle cose mondane tutto sia intrecciato – ed intrecciano così l'identità con l'alterità, l'armonia con la divisione, la comunione con la contrarietà. Ed è di ciò che Apollo ride, ride Hermes, ride ciascuno degli Dei ed il Loro riso dona esistenza agli esseri del Cosmo ed imprime forza ai legami.”
- Triade Elevante fra gli Dei Hyper-encosmici (Hermes-Afrodite-Apollo): “Afrodite è causa originaria dell'ispirazione erotica che si diffonde per la totalità dell'universo, e indirizza verso il Bello le vite da Lei stessa elevate.”
- Limite Encosmico di Afrodite ossia l'Amore provvidenziale per Dioniso: “Platone glorifica i limiti (encosmici) di Dioniso e di Afrodite, la quale produce il piacere spirituale, mentre Egli sempre purifica le nostre concezioni sugli Dei e ci prepara a pensare che tutte le cose, di qualunque genere esse possano essere, vanno tutte in direzione della fine migliore.”
Ma anche, l'Amore provvidenziale di Afrodite per Adone a livello encosmico poiché: “Adone (nella Triade Demiurgica composta da Zeus-Dioniso-Adone) è il Demiurgo che rinnova ciò che diviene.”
- Afrodite e la potenza demiurgica di Helios: “Ella quindi è l'unione delle divinità celesti, e l'armonia di quella unione per il proposito di amore ed unificazione. Poiché Ella è vicina al Sole, e muove il Suo percorso insieme a Lui e avvicinandosi a Lui, Ella colma i Cieli con un buon temperamento, conferisce il potere generativo alla terra, mentre direttamente provvede alla perpetuazione della generazione degli animali, della quale generazione il Sole sovrano contiene la causa efficiente finale.”
- La Stella del Mattino “Portatrice di Luce”, Ἀστήρ – Ἀστροδία, e quindi Afrodite-Selene: “infatti tutto Tu crei sulla terra … madre di tutte le cose e madre di Eros, Afrodite.”
- Afrodite nel mondo sub-lunare:
sfera politica e militare;
Misteri dei talami, generazione e rinnovamento, Nymphia, Genetyllis e Kourotrophos;
Afrodite, Eroi e Luoghi sacri.
- Afrodite Ctonia: Zerynthia e Persefone, Afrodite Oscura e Notturna.