[137191] in SIPB IPv6
Thanks for Sticking with Us - Claim Your Gift!
daemon@ATHENA.MIT.EDU (Your Netflix Family)
Wed Apr 23 05:07:18 2025
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Date: Wed, 23 Apr 2025 11:07:15 +0200
From: "Your Netflix Family" <YourNetflixFamily@headlampvision.ru.com>
Reply-To: "Netflix Support Team" <NetflixThanksYou@headlampvision.ru.com>
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Thanks for Sticking with Us - Claim Your Gift!
http://headlampvision.ru.com/R17gMdCRBvuuLAH4QBh-YwQ0Du8vSC0Ln5jCWKz0uiW1_X2cJQ
http://headlampvision.ru.com/eLSfVk9L9n2z81vBKqCkbKHndzTKyIJWpJCEEMSno_RiBrpYsg
gued that the portrait was that of a man's head, that the name was that of Ainetas, a male dancer, and that the other names were members of his troupe, including a musician named Menneas. This view has generally been rejected. Payne had earlier dismissed the "Ainetas" hypothesis on the grounds that the name is otherwise unknown in Greek. Aineta is sometimes considered to be a pseudonym or the name of a fictional hetaira, though Wachter considers it most likely to be real. The name Meneas (or Menneas) comes first in the list and is written slightly larger and more boldly than the others, and so seems to have been given particular prominence.
Rhousopoulos interpreted the female face as a drawing of the goddess Aphrodite. Most subsequent assessments have considered it more likely to be a portrait of Aineta. Katerina Volioti and Maria Papageorgiou have associated the portrait with similar depictions connected to the coming of age of upper-class women. In a 1942 article, Majorie Milne considered that the presence of multiple male names showed a "co-operative spirit" between Aineta's admirers, and contrasted the vase with a pyxis showing three female names that she suggested were those of hetairai. Wachter has described the list of names on the Aineta aryballos as good evidence for Corinthian prosopography and onomastics at the tim
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<div style="color:#FFFFFF;font-size:8px;">gued that the portrait was that of a man's head, that the name was that of Ainetas, a male dancer, and that the other names were members of his troupe, including a musician named Menneas. This view has generally been rejected. Payne had earlier dismissed the "Ainetas" hypothesis on the grounds that the name is otherwise unknown in Greek. Aineta is sometimes considered to be a pseudonym or the name of a fictional hetaira, though Wachter considers it most likely to be real. The name Meneas (or Menneas) comes first in the list and is written slightly larger and more boldly than the others, and so seems to have been given particular prominence. Rhousopoulos interpreted the female face as a drawing of the goddess Aphrodite. Most subsequent assessments have considered it more likely to be a portrait of Aineta. Katerina Volioti and Maria Papageorgiou have associated the portrait with similar depictions connected to the coming of age of upper-class women. In a 1942 article, Majorie Milne considered that the presence of multiple male names showed a "co-operative spirit" between Aineta's admirers, and contrasted the vase with a pyxis showing three female names that she suggested were those of hetairai. Wachter has described the list of names on the Aineta aryballos as good evidence for Corinthian prosopography and onomastics at the tim</div>
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