Budding Aphrodite: into the future

As with many aspects of antiquity, the more we discover about Aphrodite, the more we seek. Images of her or others in her guise are extensive; work over the last two hundred years provides important historical and archaeological contexts that connect the images with their creators and users. These contexts are now an important means of understanding Aphrodite’s divine personality or role(s) in various places and times. Although ancient attestation for her is sometimes less than for other goddesses, there is certainlymore post-antique evidence for her Nachleben— as herself, as Venus, or as an archetype or stereotype. Our comprehension is nonetheless complicated by the variety of ways she is perceived and received—in cult, art, and literature—up to the present.

The politics of weddings at Athens: an iconographic assessment

Despite recent scholarship that has suggested that most if not all Athenian vases were created primarily for the symposium, vases associated with weddings constitute a distinct range of Athenian products that were used at Athens in the period of the Peloponnesian War and its immediate aftermath (430-390 BCE). Just as the subject matter of sympotic vases suggested stories or other messages to the hetaireia among whom they were used, so the wedding vases may have conveyed messages to audiences at weddings. This paper is an assessment of these wedding vases with particular attention to function: how the images reflect the use of vases in wedding rituals (as containers and/or gifts); how the images themselves were understood and interpreted in the context of weddings; and the post-nuptial uses to which the vases were put. The first part is an iconographic overview of how the Athenian painters depicted weddings, with an emphasis on the display of pottery to onlookers and guests during the public parts of weddings, important events in the life of the polis. The second part focuses on a large group of late fifth century vases that depict personifications of civic virtues, normally in the retinue of Aphrodite (Pandemos). The images would reinforce social expectations, as they advertised the virtues that would create a happy marriage—Peitho, Harmonia (Harmony), and Eukleia (Good Repute)—and promise the benefits that might result from adherence to these values—Eudaimonia and Eutychia (Prosperity), Hygieia (Health), and Paidia (Play or Childrearing). Civic personifications could be interpreted on the private level—as personal virtues—and on the public level—as civic virtues— especially when they appeared on vases that functioned both in public and private, at weddings, which were public acknowledgments of private changes in the lives of individuals within the demos.

Trapping of palindromic ligands within native transthyretin prevents amyloid formation

Transthyretin (TTR) amyloidosis is a fatal disease for which new therapeutic approaches are urgently needed. We have designed two palindromic ligands, 2,2’-(4,4’-(heptane 1,7-diylbis(oxy))bis(3,5-dichloro-4,1-phenylene)) bis(azanediyl)dibenzoic acid (mds84) and 2,2’-(4,4’-(undecane-1,11-diylbis(oxy))bis(3,5-dichloro-4,1-phenylene)) bis(azanediyl)dibenzoic acid (4ajm15), that are rapidly bound by native wild-type TTR in whole serum and even more avidly by amyloidogenic TTR variants. One to one stoichiometry, demonstrable in solution and by MS, was confirmed by X-ray crystallographic analysis showing simultaneous occupation of both T4 binding sites in each tetrameric TTR molecule by the pair of ligand head groups. Ligand binding by native TTR was irreversible under physiological conditions, and it stabilized the tetrameric assembly and inhibited amyloidogenic aggregation more potently than other known ligands. These superstabilizers are orally bioavailable and exhibit low inhibitory activity against cyclooxygenase (COX). They offer a promising platform for development of drugs to treat and prevent TTR amyloidosis.

Aidos

Aidos, an abstraction whose meaning ranges from shame to modesty, is personified in literature (Hani 1980) but not art (Cairns 1996). Homer contrasts aidos, personal shame, with Nemesis, public indignation (Scott 1980).

Aletheia

The abstract concept Aletheia, Truth, is personified in literature as a daughter of Zeus (Pind. Ol. 10.3–4 and fr. 205) and nurse of Apollo (Plut. Symp. 657e).

Ananke

Ananke, Homeric “compulsion,” becomes an important philosophical term among the pre-Socratics. To Thales it is the natural necessity that powers all phenomena and compels divinities to epiphany (71 A12 DK).

Eros/Cupid

Eros, sexual love, is personified as an adolescent boy, as are his Latin equivalents, Amor and Cupido.

Graces

The Graces, known by their Greek name Charites (sing. Charis) are young and benevolent models of feminine grace. Homer does not specify their number and ages, but Hesiod explains that they are three daughters of Zeus and Eurynome (a daughter of Okeanos), named Aglaia, Euphrosyne, and Thaleia (Theog. 907–9); they live with Himeros (Desire) on Olympos, beside the Muses (Theog. 64); and they assisted with the birth of Pandora (Op. 73).