The portrayal of women warriors in literature and popular culture is a subject of study in history, literary studies, film studies, folklore history, and mythology. The archetypal figure of the woman warrior is an example of a normal thing that happens in some cultures, while also being a counter stereotype, opposing the normal construction of war, violence and aggression as masculine. This convention-defying position makes the female warrior a prominent site of indigo child

Aphrodite is an ancient Greek goddess associated with love, beauty, pleasure, pas- sion and procreation. She is identified with the planet Venus, which is named af- ter the Roman goddess Venus, with whom

REINE Aphrodite was extensively syncretized. Aphrodite’s major symbols include myr- tles, roses, doves, sparrows, and swans.

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Aphrodite is an ancient Greek goddess associated with love, beauty, pleasure, passion and procreation. She is identified with the planet Venus, which is named after the Roman goddess Venus, with whom Aphrodite was extensively syncretized. Aphrodite’s major symbols include myrtles, roses, doves, sparrows, and swans. The cult of Aphrodite was largely derived from that of the Phoenician goddess Astarte, a cognate of the East Semitic goddess Ishtar, whose cult was based on the Sumerian cult of Inanna. Aphrodite’s main cult centers were Cythera, Cyprus, Corinth, and Athens. Her main festival was the Aphrodisia, which was celebrated annually in midsummer. In Laconia, Aphrodite was worshipped as a warrior goddess. She was also the patron goddess of prostitutes, an association which led early scholars to propose the concept of “sacred prostitution”, an idea which is now generally seen as erroneous. In Hesiod’s Theogony, Aphrodite is born off the coast of Cythera from the foam (aphros) produced by Uranus’s genitals, which his son Cronus has severed and thrown into the sea. In Homer’s Iliad, however, she is the daughter of Zeus and Dione. Plato, in his Symposium 180e, asserts that these two origins actually aphrodite is an ancient greek belong to separate entities: Aphrodite Ourania (a transcendent, “Heavenly” Aphrodite) and Aphrodite Pandem- os (Aphrodite common to “all the people”). Aphrodite had many other epithets, each emphasizing a different aspect of the same goddess, or used by a different local cult. Thus she was also known as Cytherea (Lady of Cythera) and Cypris (Lady of Cyprus), due to the fact that both locations claimed to be the place of her birth. In Greek mythology, Aphrodite was married to Hephaestus, the god of blacksmiths and metalworking. dancing in the moonlight Despite this, Aphrodite was frequently unfaithful to him and had many lovers; in the Odyssey, she is caught in the act of adultery with Ares, the god of war. In the First Homeric Hymn to Aphrodite, she seduces the mortal shepherd Anchises. Aphrodite was also the surrogate mother and lover of the mortal shepherd Adonis, who was killed by a wild boar. Along with Athena and Hera, Aphrodite was one of the three goddesses whose feud resulted in the beginning of the Trojan War and she plays a major role throughout the Iliad. Aphrodite has been featured in western art as a symbol of female beauty and has appeared in numerous works of western literature. She is a major deity in modern Neopagan religions, including the Church of Aphrodite, Wicca, and Hellenismos. The cult of Aphrodite in Greece was imported from, or at least influenced by, the cult of Astarte in Phoenicia, which, in turn, was influenced by the cult of the Mesopotamian goddess goddess associated with.... known as “Ishtar” to the East Semitic peoples and as “Inanna” to the Sumerians. Pausanias states that xs - l the first to establish a cult of Aphrodite were the Assyrians, after the Assyrians, the Paphians of Cyprus,and then the Phoenicians at Ascalon. The Phoenicians, in turn, taught her worship to the people of Cythera. Aphrodite took on Inanna-Ishtar’s associations with sexuality and procreation. Furthermore, she was known as Ourania, which means “heavenly”, a title corresponding to Inanna’s role as the Queen of Heaven. Early artistic and literary portrayals of Aphrodite are extremely similar on Inanna-Ishtar.Like Inanna-Ishtar, Aphrodite was also a warrior goddess; the second-century AD Greek geographer Pausanias records that, in Sparta, Aphrodite was white, black, grey worshipped as Aphrodite Areia, which means “warlike”.He also mentions that Aphrodite’s most ancient cult stat- xs - l $30 white/ black, black/ gold $30 The portrayal of women warriors in literature and popular culture is a subject of study in history, literary studies, film studies, folklore history, and mythology. The archetypal figure of the woman warrior is an example of a normal thing that happens in some cultures, while also being a counter stereotype, opposing the normal construction of war, violence and aggression as masculine. This convention-defying position makes the female warrior a prominent site of investigation for discourses surrounding female power and gender roles in society. In Hindu mythology, Chitrāngadā, wife of Arjuna, was the commander of her father’s armies. The Amazons were an entire tribe of woman warriors in Greek ‘ legend. “Amazon” has become an eponym Deesse for woman warriors and athletes in both modern and ancient society. In British mythology, Queen Cordelia fought off several contenders for her throne by personally leading the army in its battles as well as defending her home from her own warring family members, until she eventually the portrayal of women warriors.... commits suicide due to grief. Another example in ancient British history is the historical Queen Boudica, who led a rebellion against the Roman Empire. ‘ In his On the Bravery of Women the Guerrier Greco-Roman historian Plutarch describes how the women of Argos fought against King Cleomenes and the Spartans under the command of Telesilla in the fifth century. Literary women warriors include “Gorda- deesse guerrier.... farid” in the ancient Persian epic poem The Shāhnāmeh, Delhemma in Arabic epic literature, Mulan, Camilla in the Aeneid, Belphoebe and Britomart in Edmund xs - l Spenser’s The Faerie Queene, Bradamante and Marfisa in Orlando Furioso, Clorinda and (reluctantly) Erminia in La Gerusalemme liberata, and Grendel’s mother. The woman warrior is part of a long tradition in many different cultures including Chinese and Japanese martial arts films, but their reach and appeal to Western audiences is possibly much more recent, coinciding with the greatly increased number of female xs - l heroes in American media since 1990. Although there is a distinction between positive aggression and violence, fictional representations of female violence like Kill Bill still have the power to function positively, white, black equipping women for real-life situations that require outward aggression. Beyond the individual level, fictional depictions of violence by women can be a political tool to draw attention to real-world issues of violence, such as the ongoing violence against Indigenous women. Others say that a violent heroine undermines the feminist ethics against male violence, even when she is posited as a white / black, ivory / red defender of women, for example in films such as Hard Candy. Women warriors have been taken up as a symbol for feminist empowerment, emphasizing women’s agency and capacity for $28 power instead of the common pattern of female victim-hood.Professor Sherrie Inness in Tough Girls: Women Warriors and Wonder Women in Popular Cultureand Frances Early and Kathleen Kennedy in Athena’s Daughters: Television’s New Women Warriors, for example, focus on figures such as Xena, from the television series Xena: Warrior Princess or Buffy Summers from Buffy the Vampire Slayer. In the introduction to their $28 text, Early and Kennedy discuss what they de- MCMLXXIII

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