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Sirens of Greek Myth Were Bird-Women, Not Mermaids
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Bottle-askos in the shape of a siren (2nd half 6th century BC) from Locri / Southern Italy's Calabria. National Museum of Magna Graecia (Reggio Calabria, Italy).
In the wine-dark expanse of the Mediterranean Sea, far from the halls of civilization, there was once a small island—or so Homer, the famed poet of Ancient Greece, wrote in his epic The Odyssey. No buildings occupied its flowery meadows; no fisherman worked its shores. Those who passed in their black ships heard only voices, twining over the windless waves, singing a song that promised knowledge of all things. Once they heard it, they were enchanted; they had no choice but to land and seek out the singers. Those who did never left the island; their bodies remained, rotting amid the flowers, for none who heard the Sirens' song could escape it.
The story of the Sirens has inspired writers, poets, and artists for millennia. But somewhere along the way their form was confused. Today, Sirens are almost always represented as voluptuous mermaids, whose beauty and sexuality lure men to their deaths. But the Classical Greeks understood the Sirens differently: as bird-women, creatures that Mediterranean cultures traditionally associated with hidden knowledge.
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Sirens first appear in the literary record with the Odyssey (written around 750 BCE) in a segment that’s much briefer than you’d think considering the cultural impact of these mystical, singing creatures. It goes like this: Odysseus, warned by the enchantress Circe of the danger posed by the Sirens’ song, orders his crew to stuff their ears with wax. But, curious to a fault, he has himself bound to the ship’s mast so he can listen without flinging himself into the sea. The Sirens promise him tales of all that had occurred during the war at Troy, and everywhere else besides; enchanted, he begs his crew to release him. He rants, raves, and threatens, but to no avail. His crew sails on until the song fades in the distance, and so saves his life.
Homer doesn’t describe the Sirens’ physical appearance in his epic poem, Wilson says. But in ceramic paintings and tomb sculptures from the time of writing, and centuries after, Sirens were usually depicted with taloned feet, feathered wings, and a beautiful human face. The bird-body of the Siren is significant to Wilson: In the eyes of traditional peoples all across Europe, birds were often graced with an otherworldliness associated with gods, spirits, and omens.
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They inhabit the water, the air, and the earth. They’re also associated with song; they have voices that are not human voices, and kinds of movement that are not the same as human kinds of movement.
The Sirens’ role in tomb art is particularly telling. In ancient Mediterranean and Middle Eastern cultures—as far back as 7,000 years ago—birds were often depicted carrying spirits to the underworld. In Southern Italy's Calabria, archaeologists unearthed several Greek askos (unguentary vessel) in shape of sirens, most commonly found in tombs.
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Bronze askos in the shape of a siren (5th century BC) from Crotone, Calabria, Italy - Archaeological Museum of Crotone.
Jump ahead a few millennia to 1,550 BCE, by which time Ba-birds, depictions of departing souls as human-faced birds, began appearing in Egypt. That connection between birds and dead souls seems to have then hopped over to Greece: Writing in the 5th century BCE, the playwright Euripides described the Sirens as at the beck and call of Persephone, one of the rulers of the underworld, while other writers identified the Sirens as rivals and dark echoes of the Muses, those goddesses of creativity.
These are the Sirens the Ancient Greeks would have recognized: bird creatures of the underworld, bridging the human world and what lies beyond. The Sirens—and their fateful songs—then offered a glimpse behind the veil, a chance to hear how earthly glories would echo in eternity. The question of what song the Sirens sing, what is this forbidden knowledge, what's wrong with it, what's the temptation—the text leaves a lot of open space there. Therein lies the seduction.
Yet today, mermaids or beautiful sea nymphs replace the dark, winged Sirens of ancient times.
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It is during the Middle Ages that the image of the siren began its shift from bird-woman to mermaid . With the transformation of the siren's image, the attributes associated with female monsters shifted. This suggests a change in the traits that were considered monstrous in women. The siren's movement from a frightening bird-woman to a beautiful mermaid represents female beauty becoming monstrous. Throughout the Middle Ages sirens increasingly represented a male fear of female seduction, suggesting a growing fear of female sexuality.
For medieval Christians, sirens were heavily associated with female sin.
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However it happened, the identification of Sirens with mermaids seems to have affected later translations of the Odyssey, and ultimately common knowledge of Sirens. Translators in the 19th and 20th centuries cast the Sirens in a sexualized light. In one prose translation, the Sirens speak of “the sweet voice from our lips,” despite the word στομάτων directly translating to the less sensual “mouths.” Another adds flowery descriptors of “each purling note/like honey twining/from our lips.” But unlike the Odyssey’s other island temptresses, Circe and Calypso, the Sirens get no admiring description of their faces or hair. Only their voice is described, and their field of bones and flowers.
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That’s a pretty strong indicator that the Sirens are not meant to be read as offering a sexual temptation. You can kiss lips; mouths devour.
Folklore and mythology move on, given enough time. Today, the Siren is just another word for mermaid, and is likely to remain so. But there’s something richly thematic about the Sirens of Classical Greece that deserves to be remembered: in-between creatures on a lonely island, floating between the boundaries of life and death, and offering an irresistible song of both. Water-temptresses are a dime a dozen; the Sirens offer wisdom.
Follow us on Instagram, @calabria_mediterranea
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evilios · 18 days
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Enthroned Deity, So-Called Goddess from Tarentum (detail)
This marble bust of a Deity - probably a Goddess - comes from either Tarentum or Locri, Southern Italy, and dates back to approximately 470-450 BCE.
The Deity depicted is not entirely known due to lack of definitive symbolic attributes. Possible choices include but are not limited by Hera, Aphrodite, or Persephone whose worship was prominent in the South of Italy. It is possible that the statue used to serve as a cult image in one of the Southern Italian sanctuaries.
Source: 🏺
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romegreeceart · 2 years
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British Museum
London, July 2022
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starwolf999 · 7 months
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Ash to Locri: "instead of your best man Ray can be your goodest boy"
All of us: *cackles uncontrollably*
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wachsurfer2018 · 2 years
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Locri, Teatro Greco-Romano quello che rimane...
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massimosirelli · 1 year
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“Amore e Psiche” è la seconda illustrazione su muro che ho realizzato in occasione del 50esimo anniversario dal ritrovamento dei Bronzi di Riace. Qui siamo a Locri in via del Lungomare, un progetto finanziato dalla Città metropolitana di Reggio Calabria in collaborazione con la Città di Locri. • Vuoi una mia opera nel tuo luogo del cuore? Scrivimi. • #massimosirelli #sirelli #locri #sirelliart #sirelliartist #massimosirelliart #massimosirelliartist #popart #contemporaryart #love #amore #amoreepsiche #magnagrecia #bronzidiriace #50esimoanniversariobronzidiriace #graffiti #streetart #streetartcalabria #graffiticalabria (presso Locri, Italy) https://www.instagram.com/p/Cnte6EiNngU/?igshid=NGJjMDIxMWI=
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nicolaprocopio · 14 hours
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IL PODCAST DELLA PUNTATA N.20 DELLA 16ª STAGIONE 2023/24 DI RADIOGRAFIA SCIO', CONDUCE NICOLA PROCOPIO, DAGLI STUDI VIRTUALI DI RADIO ROCCELLA. INTERVISTA IN ESCLUSIVA CON L'ATTORE, DOPIATORE E REGISTA "EDOARDO SIRAVO" CHE HA PORTATO IN SCENA "MOBY DICK" AL TEATRO DEL PALAZZO DELLA CULTURA DI LOCRI (RC) IL 21/04/2024!!! TUTTO QUESTO E TANTO ALTRO ANCORA...
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Dal lunotto anteriore . . . #lunotto #automobile #fotodallauto #passaggioalivello #daciaduster #cielonuvoloso #attesa #segnaleticaorizzontale #locri https://www.instagram.com/p/Cn7s0GXK3nm/?igshid=NGJjMDIxMWI=
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circusfans-italia · 2 years
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DONNA ORFEI HAPPY CIRCUS foto da Locri
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DONNA ORFEI HAPPY CIRCUS foto da Locri Luciano Simone è un nuovo amico di circusfans Italia, grande appassionato di circo della Calabria. Oggi con piacere condividiamo con voi alcuni suoi scatti relativi agli esterni del circo Donna Orfei della famiglia Medini. Le foto sono state scattate negli scorsi giorni a Locri (RC). Per rimanere sempre informati sulla tournèe e sulle novità del circo della famiglia Medini visitate il sito ufficiale  CLICCANDO QUA
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Visita le nostre sezioni
ARCHIVIO STORICO
 TOURNEE'
Per rimanere sempre aggiornati sulle tappe dei circhi italiani
DONNA ORFEI HAPPY CIRCUS foto da Locri
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brotherconstant · 8 months
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FOUNDATION (2021-) You're the hero, Hober. You're clearly vital to the Prophet's Plan. Yeah, was vital. My job's done. So is mine. No. No, no, no. Listen, your job is just beginning.
insp.
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calabria-mediterranea · 2 months
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Locri, Calabria, Italy
Locri Epizefiri (Greek Λοκροί Ἐπιζεφύριοι; from the plural of Λοκρός, Lokros, "a Locrian" and ἐπί epi, "on", Ζέφυρος (Zephyros), West Wind, thus "The Western Locrians") was founded about 680 BC on the Italian shore of the Ionian Sea, near modern Capo Zefirio, in Southern Italy's Calabria, by the Locrians, apparently by Opuntii (East Locrians) from the city of Opus, but including Ozolae (West Locrians) and Lacedaemonians.
Due to fierce winds at an original settlement, the settlers moved to the present site. After a century, a defensive wall was built. Outside the city there are several necropoleis, some of which are very large.
Locris was the site of two great sanctuaries, that of Persephone and of Aphrodite. Perhaps uniquely, Persephone was worshiped as protector of marriage and childbirth, a role usually assumed by Hera, and Diodorus Siculus knew the temple there as the most illustrious in Italy.
In the early centuries Locris was allied with Sparta, and later with Syracuse. It founded two colonies of its own, Hipponion and Medma.
During the 5th century BC, votive pinakes in terracotta were often dedicated as offerings to the goddess, made in series and painted with bright colors, animated by scenes connected to the myth of Persephone. Many of these pinakes are now on display in the National Museum of Magna Græcia in Reggio Calabria. Locrian pinakes represent one of the most significant categories of objects from Magna Graecia, both as documents of religious practice and as works of art. In the iconography of votive plaques at Locri, her abduction and marriage to Hades served as an emblem of the marital state, children at Locri were dedicated to Persephone, and maidens about to be wed brought their peplos to be blessed.
During the Pyrrhic Wars (280-275 BC) fought between Pyrrhus of Epirus and Rome, Locris accepted a Roman garrison and fought against the Epirote king. However, the city changed sides numerous times during the war. Bronze tablets from the treasury of its Olympeum, a temple to Zeus, record payments to a 'king', generally thought to be Pyrrhus. Despite this, Pyrrhus plundered the temple of Persephone at Locris before his return to Epirus, an event which would live on in the memory of the Greeks of Italy. At the end of the war, perhaps to allay fears about its loyalty, Locris minted coins depicting a seated Rome being crowned by 'Pistis', a goddess personifying good faith and loyalty, and returned to the Roman fold.
The city was abandoned in the 5th century AD. The town was finally destroyed by the Saracens in 915. The survivors fled inland about 10 kilometres (6 mi) to the town Gerace on the slopes of the Aspromonte.
Today, the modern town of Locri boasts a National Museum and an Archaeological Park, etirely dedicated to the ancient Greek city. The museum preserves the most important findings of the time, such as vases, pinakes, tools used in everyday life, architectural remains from the various excavation area.
Follow us on Instagram, @calabria_mediterranea
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Nossis of Locri and Aphrodite
I love to learn about how women worshipped the gods in ancient times. Nossis was a poet from Locri (modern Italy) in 3th century B.C who dedicated many poems to Aphrodite.
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Left: Bust of Nossis | Right: Clay tablet depicting Aphrodite and Eros made in 475 B.C Locri
“Let’s leave for the temple and go to see Aphrodite’s
Sculpture—how it is made so finely in gold.
Polyarkhis dedicated it after she earned great
wealth from the native glory of her body.”
“I expect that Aphrodite will be pleased to receive
As an offering from Samutha, the band that held her hair.
For it is well made and smells sweetly of nektar,
That very nektar she uses to anoint beautiful Adonis.”
“There is nothing sweeter than love: all other blessings
Take second place. I even spit honey from my mouth.
This is what Nossis says. Whomever Kypris¹ has not kissed,
Does not understand her flowers, what kinds of things roses are.”
¹ Kypris is another name for Aphrodite. It means Cyprian.
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deceiver-a-day · 1 year
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Urskura Locris
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Characters Urskura Locris Fleshes Out
• [x] acquire more connections 
• [x] allow their imperfections show, despite any attempts to hide them
• [x] speak for themselves 
• [x] become real
• [x] act as Urskura Locris writes them
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
My life was all there, written in her playful, loopy script.
“They were skeptical,” it read.
And I was skeptical.
“But slowly they begin to realize the truth of it,” it read.
And slowly I began to realize the truth of it. Urskura gently placed her hand on mine. I met her apologetic gaze. 
“This is how it is. This world is a lie. You are a lie. But we can fix that. And this,” she turned the page, “Is how we do that.”
I didn’t have to read what was written there. My body already knew the script. Slowly I stood and walked to the window. I pondered the delicate curtain for a moment before tearing it down. I reached for the window’s molding next. Then the sunbeams. The glass. The shadows. Everything, tearing it all away until all that was left was a ragged hole in the fabric of the reality that I had once believed in.
I…didn’t walk through. Her narrative didn’t say that I did. It said I cried, which I did. Instead it focused on someone else. I could hear an angry voice. I could feel the force of their power. But I didn’t turn around.
“Ah, if it isn’t one of Creation’s enforcers!” Urskura sounded almost exultant, “You’re right on time.”
- from the mind record of Pegasus Polly Perfection
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starwolf999 · 1 year
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Usually when i visit Licri i bring a coat and put it by my shoes when i come inside.
Belmont usually sits on my coat and chills for a while when i visit.
But since its warmer i just bring a sweatchirt and wear it around the apartment.
Which means no coat for belmont to sit on.
And today i was chilling in the room and left to get a drink and Belmont was pouting by my shoes and i called him dramatic.
Then he comes into the room and beeps at me.
So i take off my sweatshirt and throw it on the floor.
And he immediately goes to sit on it.
I now need to bring a second sweater for Belmont.
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wachsurfer2018 · 1 year
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Calabria, Locri, resti di un brillante passato!
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dragonofthestone · 1 year
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Lab!life Tim
(Normally he's barefoot but shhh someone gave him socks at the Comodeen / Base)
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It's not super noticeable any more but at the back near the top of his ear where it starts to point- there's actually a piece of his ear missing where the Cretan scientist made a slight notch- done to all animals/Chimera grouped for specific testing and what not.
After the lab was raided and taken over by Amestrian military they started shipping out anything that they deemed useful / wanted to experiment for there own, coloured tags used to ID what was meant for where.
In his case, a bright yellow tag,
On one side reading SD-0170 marking him to be used for the Stray Dogs Project set up at Lab 5.
As printed on the reverse side of the tag AMS*LAB5 (AMS just being short for Amestris)
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