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Venus (mythology)

Venus is a Roman goddess, whose functions encompass love, beauty, desire, sex, fertility, prosperity, and victory. In Roman mythology, she was the ancestor of the Roman people through her son, Aeneas, who survived the fall of Troy and fled to Italy. Julius Caesar claimed her as his ancestor. Venus was central to many religious festivals, and was revered in Roman religion under numerous cult titles.

The Romans adapted the myths and iconography of her Greek counterpart Aphrodite for Roman art and Latin literature. In the later classical tradition of the West, Venus became one of the most widely referenced deities of Greco-Roman mythology as the embodiment of love and sexuality. She is usually depicted nude in paintings.

Etymology
The Latin theonym Venus and the common noun venus ('love, charm') stem from a Proto-Italic form reconstructed as *wenos- ('desire'), itself from Proto-Indo-European (PIE)  ('desire'; cf. Messapic Venas, Old Indic vánas 'desire').

Derivatives include venustus ('attractive, charming'), venustās ('charm, grace'), venerius ('of Venus, erotic'), venerāre ('to adore, revere, honor, venerate, worship'), and venerātiō ('adoration'). Venus is also cognate with Latin venia ('favour, permission') and vēnor ('to hunt') through to common PIE root  ('to strive for, wish for, desire, love').

Origins
Venus has been described as perhaps "the most original creation of the Roman pantheon", and "an ill-defined and assimilative" native goddess, combined "with a strange and exotic Aphrodite". Her cults may represent the religiously legitimate charm and seduction of the divine by mortals, in contrast to the formal, contractual relations between most members of Rome's official pantheon and the state, and the unofficial, illicit manipulation of divine forces through magic. The ambivalence of her persuasive functions has been perceived in the relationship of the root *wenos- with its Latin derivative venenum ('poison'; from *wenes-no 'love drink' or 'addicting'), in the sense of "a charm, magic philtre".

Venus seems to have had no origin myth until her association with Greek Aphrodite. Venus-Aphrodite emerged, already in adult form, from the sea foam (Greek αφρός, aphros) produced by the severed genitals of Caelus-Uranus. Roman theology presents Venus as the yielding, watery female principle, essential to the generation and balance of life. Her male counterparts in the Roman pantheon, Vulcan and Mars, are active and fiery. Venus absorbs and tempers the male essence, uniting the opposites of male and female in mutual affection. She is essentially assimilative and benign, and embraces several otherwise quite disparate functions. She can give military victory, sexual success, good fortune and prosperity. In one context, she is a goddess of prostitutes; in another, she turns the hearts of men and women from sexual vice to virtue. Varro's theology identifies Venus with water as an aspect of the female principle. To generate life, the watery matrix of the womb requires the virile warmth of fire. To sustain life, water and fire must be balanced; excess of either one, or their mutual antagonism, is unproductive or destructive.

Prospective brides offered Venus a gift "before the wedding"; the nature of the gift, and its timing, are unknown. The wedding ceremony itself, and the state of lawful marriage, belonged to Juno – whose mythology allows her only a single marriage, and no divorce from her habitually errant spouse, Jupiter – but Venus and Juno are also likely "bookends" for the ceremony; Venus prepares the bride for "conubial bliss" and expectations of fertility within lawful marriage. Some Roman sources say that girls who come of age offer their toys to Venus; it is unclear where the offering is made, and others say this gift is to the Lares. In dice-games played with knucklebones, a popular pastime among Romans of all classes, the luckiest, best possible roll was known as "Venus".

Epithets

Like other major Roman deities, Venus was given a number of epithets that referred to her different cult aspects, roles, and her functional similarities to other deities. Her "original powers seem to have been extended largely by the fondness of the Romans for folk-etymology, and by the prevalence of the religious idea nomen-omen which sanctioned any identifications made in this way."

Venus Acidalia, in Virgil's Aeneid (1.715–22, as mater acidalia). Servius speculates this "rare" and "strangely recondite epithet" as reference to a mooted "Fountain of Acidalia" (fons acidalia) where the Graces (Venus' daughters) were said to bathe; but he also connects it to the Greek word for "dart", "needle", "arrow", whence "love's arrows" and love's bitter "cares and pangs". Ovid uses acidalia only in the latter sense. Venus Acidalia is likely a literary conceit, formed by Virgil from earlier usages in which acidalia had no evident connection to Venus. It was almost certainly not a cultic epithet.

Venus Anadyomene (Venus "rising from the sea"), based on a once-famous painting by the Greek artist Apelles showing the birth of Aphrodite from sea-foam, fully adult and supported by a more-than-lifesized scallop shell. The Italian Renaissance painter Sandro Botticelli used the type in his The Birth of Venus. Other versions of Venus' birth show her standing on land or shoreline, wringing the sea-water from her hair.

Venus Barbata ("Bearded Venus"), mentioned in Servius' commentary on Virgil's Aeneid. Macrobius's Saturnalia describes a statue of Venus in Cyprus, bearded, with male genitalia but in female attire and figure (see also Aphroditus). Her worshippers cross-dressed - men wore women's clothes, and women wore men's. Macrobius says that Aristophanes called this figure Aphroditos. The Latin poet Laevius wrote of worshipping "nurturing Venus" whether female or male (sive femina sive mas). Several examples of Greek and Roman sculpture show her in the attitude anasyrmene, from the Greek verb anasyromai, "to pull up one's clothes" to reveal her male genitalia. The gesture traditionally held apotropaic or magical power.

Venus Caelestis (Celestial or Heavenly Venus), used from the 2nd century AD for Venus as an aspect of a syncretised supreme goddess. Venus Caelestis is the earliest known Roman recipient of a taurobolium (a form of bull sacrifice), performed at her shrine in Pozzuoli on 5 October 134. This form of the goddess, and the taurobolium, are associated with the "Syrian Goddess", understood as a late equivalent to Astarte, or the Roman Magna Mater, the latter being another supposedly Trojan "Mother of the Romans", as well as "Mother of the Gods".

Venus Calva ("Venus the bald one"), a legendary form of Venus, attested only by post-Classical Roman writings which offer several traditions to explain this appearance and epithet. In one, it commemorates the virtuous offer by Roman matrons of their own hair to make bowstrings during a siege of Rome. In another, king Ancus Marcius' wife and other Roman women lost their hair during an epidemic; in hope of its restoration, unafflicted women sacrificed their own hair to Venus.

Venus Cloacina ("Venus the Purifier"); a fusion of Venus with the Etruscan water goddess Cloacina, who had an ancient shrine above the outfall of the Cloaca Maxima, originally a stream, later covered over to function as Rome's main sewer. The rites conducted at the shrine were probably meant to purify the culvert's polluted waters and noxious airs. In some traditions, Titus Tatius was responsible for the introduction of lawful marriage to Rome, and Venus-Cloacina promoted, protected and purified sexual intercourse between married couples.

Venus Erycina ("Erycine Venus"), a Punic statue of Astarte captured from Eryx, in Sicily, and worshiped in Romanised form by the elite and respectable matrons at a temple on the Capitoline Hill. A later temple, outside the Porta Collina and Rome's sacred boundary, may have preserved some Erycine features of her cult. It was considered suitable for "common girls" and prostitutes.

Venus Euploia (Venus of the "fair voyage"), also known as Venus Pontia (Venus of the Sea"), because she smooths the waves for mariners. She is probably based on the influential image of Aphrodite by Praxiteles, once housed in a temple by the sea but now lost. Most copies of its Venus image would have been supported by dolphins, and worn diadems and carved veils, inferring her birth from sea-foam, and a consequent identity as Queen of the Sea, and patron of sailors and navigation. Roman copies would have embellished baths and gymnasiums.

Venus Frutis honoured by all the Latins with a federal cult at the temple named Frutinal in Lavinium. Inscriptions found at Lavinium attest the presence of federal cults, without giving precise details.

Venus Felix ("Lucky Venus"), probably a traditional epithet, combining aspects of Venus and Fortuna, goddess of both good and bad fortune and personification of luck, whose iconography includes the rudder of a ship, found in some Pompeian examples of the regal Venus Physica. A form of Venus usually identified as Venus Felix was adopted by the dictator Sulla to legitimise his victories over his domestic and foreign opponents during Rome's late Republican civil and foreign wars; Rives finds it very unlikely that Sulla would have imposed this humiliating connection on unwilling or conquered domestic territories once allied to Samnium, such as Pompei. The emperor Hadrian built a temple to Venus Felix et Roma Aeterna on the Via Sacra. The same epithet is used for a specific sculpture at the Vatican Museums.

Venus Genetrix ("Venus the Mother"), as a goddess of motherhood and domesticity, with a festival on September 26, a personal ancestress of the Julian lineage and, more broadly, the divine ancestress of the Roman people. Julius Caesar dedicated a Temple of Venus Genetrix in 46 BC. This name has attached to an iconological type of statue of Aphrodite/Venus.

Venus Heliopolitana ("Venus of Heliopolis Syriaca"), a Romano-Syrian form of Venus at Baalbek, variously identified with Ashtart, Dea Syria and Atargatis, though inconsistently and often on very slender grounds. She has been historically identified as one third of a so-called Heliopolitan Triad, and thus a wife to presumed sun-god "Syrian Jupiter" (Baal) and mother of "Syrian Mercury" (Adon). The "Syrian Mercury" is sometimes thought as another sun-god, or a syncretised form of Bacchus as a "dying and rising" god, and thus a god of Springtime. No such Triad seems to have existed prior to Baalbek's 15 BC colonisation by Augustus' veterans. It may be a modern scholarly artifice.

Venus Kallipygos ("Venus with the beautiful buttocks"), a statue, and possibly a statue type, after a lost Greek original. From Syracuse, Sicily.

Venus Libertina ("Venus the Freedwoman"), probably arising through the semantic similarity and cultural links between libertina (as "a free woman") and lubentina (possibly meaning "pleasurable" or "passionate"). Further titles or variants acquired by Venus through the same process, or through orthographic variance, include Libentia, Lubentina, and Lubentini. Venus Libitina links Venus to a patron-goddess of funerals and undertakers, Libitina, who also became synonymous with death; a temple was dedicated to Venus Libitina in Libitina's grove on the Esquiline Hill, "hardly later than 300 BC".

Venus Murcia ("Venus of the Myrtle"), merging Venus with the little-known deity Murcia (or Murcus, or Murtia). Murcia was associated with Rome's Mons Murcia (the Aventine's lesser height), and had a shrine in the Circus Maximus. Some sources associate her with the myrtle-tree. Christian writers described her as a goddess of sloth and laziness.

Venus Obsequens ("Indulgent Venus" ), Venus' first attested Roman epithet. It was used in the dedication of her first Roman temple, on August 19 in 295 BC during the Third Samnite War by Quintus Fabius Maximus Gurges. It was sited somewhere near the Aventine Hill and Circus Maximus, and played a central role in the Vinalia Rustica. It was supposedly funded by fines imposed on women found guilty of adultery.

Venus Physica: Venus as a universal, natural creative force that informs the physical world. She is addressed as "Alma Venus" ("Mother Venus") by Lucretius in the introductory lines of his vivid, poetic exposition of Epicurean physics and philosophy, De Rerum Natura. She seems to have been a favourite of Lucretius' patron, Memmius.

Venus Physica Pompeiana was Pompeii's protective goddess, antedating Sulla's imposition of a colonia named Colonia Veneria Cornelia after his family and Venus, following his siege and capture of Pompeii from the Samnites. Venus also had a distinctive, local form as Venus Pescatrice ("Venus the Fisher-woman") a goddess of the sea, and trade. For Sulla's claims of Venus' favour, see Venus Felix above). Pompeii's Temple of Venus was built sometime in the 1st century BC, before Sulla's colonisation. This local form of Venus had Roman, Oscan and local Pompeiian influences. Like Venus Physica, Venus Physica Pompeiana is also a regal form of "Nature Mother" and a guarantor of success in love.

Venus Urania ("Heavenly Venus"), used as the title of a book by Basilius von Ramdohr, a relief by Pompeo Marchesi, and a painting by Christian Griepenkerl. (cf. Aphrodite Urania)

Venus Verticordia ("Venus the Changer of Hearts"). See and Veneralia.

Venus Victrix ("Venus the Victorious"), a Romanised aspect of the armed Aphrodite that Greeks had inherited from the East, where the goddess Ishtar "remained a goddess of war, and Venus could bring victory to a Sulla or a Caesar". Pompey vied with his patron Sulla and with Caesar for public recognition as her protégé. In 55 BC he dedicated a temple to her at the top of his theater in the Campus Martius. She had a shrine on the Capitoline Hill, and festivals on August 12 and October 9. A sacrifice was annually dedicated to her on the latter date. In neo-classical art, her epithet as Victrix is often used in the sense of 'Venus Victorious over men's hearts' or in the context of the Judgement of Paris (e.g. Canova's Venus Victrix, a half-nude reclining portrait of Pauline Bonaparte).

Cult history and temples
The first known temple to Venus was vowed to Venus Obsequens by Q. Fabius Gurges in the heat of a battle against the Samnites. It was dedicated in 295 BC, at a site near the Aventine Hill, and was supposedly funded by fines imposed on Roman women for sexual misdemeanours. Its rites and character were probably influenced by or based on Greek Aphrodite's cults, which were already diffused in various forms throughout Italian Magna Graeca. Its dedication date connects Venus Obsequens to the Vinalia rustica festival. In 217 BC, in the early stages of the Second Punic War with Carthage, Rome suffered a disastrous defeat at the battle of Lake Trasimene. The Sibylline oracle suggested that Carthage might be defeated if the Venus of Eryx (Venus Erycina), patron goddess of Carthage's Sicilian allies, could be persuaded to change her allegiance. Rome laid siege to Eryx and promised its goddess a magnificent temple as reward for her defection. They captured her image, brought it to Rome and installed it in a temple on the Capitoline Hill, as one of Rome's twelve dii consentes. Shorn of her more overtly Carthaginian characteristics, this "foreign Venus" became Rome's Venus Genetrix ("Venus the Mother"),  Roman tradition made Venus the mother and protector of the Trojan prince Aeneas, ancestor of the Romans, so as far as the Romans were concerned, this was the homecoming of an ancestral goddess to her people. Soon after, Rome's defeat of Carthage confirmed Venus's goodwill to Rome, her links to its mythical Trojan past, and her support of its political and military hegemony.

The Capitoline cult to Venus seems to have been reserved to higher status Romans. A separate cult to Venus Erycina as a fertility deity, was established in 181 BC, in a traditionally plebeian district just outside Rome's sacred boundary, near the Colline Gate. The temple, cult and goddess probably retained much of the original's character and rites. Likewise, a shrine to Venus Verticordia ("Venus the changer of hearts"), established in 114 BC but with links to an ancient cult of Venus-Fortuna, was "bound to the peculiar milieu of the Aventine and the Circus Maximus" – a strongly plebeian context for Venus's cult, in contrast to her aristocratic cultivation as a Stoic and Epicurian "all-goddess".

Towards the end of the Roman Republic, some leading Romans laid personal claims to Venus' favour. The general and dictator Sulla adopted Felix ("Lucky") as a surname, acknowledging his debt to heaven-sent good fortune and his particular debt to Venus Felix, for his extraordinarily fortunate political and military career. His protégé Pompey competed for Venus' support, dedicating (in 55 BC) a large temple to Venus Victrix as part of his lavishly appointed new theatre, and celebrating his triumph of 54 BC with coins that showed her crowned with triumphal laurels.

Pompey's erstwhile friend, ally, and later opponent Julius Caesar went still further. He claimed the favours of Venus Victrix in his military success and Venus Genetrix as a personal, divine ancestress – apparently a long-standing family tradition among the Julii. When Caesar was assassinated, his heir, Augustus, adopted both claims as evidence of his inherent fitness for office, and divine approval of his rule. Augustus' new temple to Mars Ultor, divine father of Rome's legendary founder Romulus, would have underlined the point, with the image of avenging Mars "almost certainly" accompanied by that of his divine consort Venus, and possibly a statue of the deceased and deified Caesar.

Vitruvius recommends that any new temple to Venus be sited according to rules laid down by the Etruscan haruspices, and built "near to the gate" of the city, where it would be less likely to contaminate "the matrons and youth with the influence of lust". He finds the Corinthian style, slender, elegant, enriched with ornamental leaves and surmounted by volutes, appropriate to Venus' character and disposition. Vitruvius recommends the widest possible spacing between the temple columns, producing a light and airy space, and he offers Venus's temple in Caesar's forum as an example of how not to do it; the densely spaced, thickset columns darken the interior, hide the temple doors and crowd the walkways, so that matrons who wish to honour the goddess must enter her temple in single file, rather than arm-in arm.

In 135 AD the Emperor Hadrian inaugurated a temple to Venus and Roma Aeterna (Eternal Rome) on Rome's Velian Hill, underlining the Imperial unity of Rome and its provinces, and making Venus the protective genetrix of the entire Roman state, its people and fortunes. It was the largest temple in Ancient Rome.

Festivals
Venus was offered official (state-sponsored) cult in certain festivals of the Roman calendar. Her sacred month was April (Latin Mensis Aprilis) which Roman etymologists understood to derive from aperire, "to open", with reference to the springtime blossoming of trees and flowers. In the interpretatio romana of the Germanic pantheon during the early centuries AD, Venus became identified with the Germanic goddess Frijjo, giving rise to the loan translation "Friday" for dies Veneris.

Veneralia (April 1) was held in honour of Venus Verticordia ("Venus the Changer of Hearts"), and Fortuna Virilis (Virile or strong Good Fortune), whose cult was probably by far the older of the two. Venus Verticordia was invented in 220 BC, in response to advice from a Sibylline oracle during Rome's Punic Wars, when a series of prodigies was taken to signify divine displeasure at sexual offenses among Romans of every category and class, including several men and three Vestal Virgins. Venus Verticordias statue was dedicated by a young woman, chosen as the most pudica (sexually pure) in Rome by a committee of Roman matrons. At first, this statue was probably housed in the temple of Fortuna Virilis, perhaps as divine reinforcement against the perceived moral and religious failings of its cult. In 114 BC Venus Verticordia was given her own temple. She was meant to persuade Romans of both sexes and every class, whether married or unmarried, to cherish the traditional sexual proprieties and morality known to please the gods and benefit the State. During her rites, her image was taken from her temple to the men's baths, where it was undressed and washed in warm water by her female attendants, then garlanded with myrtle. Women and men asked Venus Verticordia's help in affairs of the heart, sex, betrothal and marriage. For Ovid, Venus's acceptance of the epithet and its attendant responsibilities represented a change of heart in the goddess herself.

Vinalia urbana (April 23), a wine festival shared by Venus and Jupiter, king of the gods. It offered opportunity to supplicants to ask Venus' intercession with Jupiter, who was thought to be susceptible to her charms, and amenable to the effects of her wine. Venus was patron of "profane" wine, for everyday human use. Jupiter was patron of the strongest, purest, sacrificial grade wine, and controlled the weather on which the autumn grape-harvest would depend. At this festival, men and women alike drank the new vintage of ordinary, non-sacral wine (pressed at the previous year's vinalia rustica) in honour of Venus, whose powers had provided humankind with this gift. Upper-class women gathered at Venus's Capitoline temple, where a libation of the previous year's vintage, sacred to Jupiter, was poured into a nearby ditch. Common girls (vulgares puellae) and prostitutes gathered at Venus' temple just outside the Colline gate, where they offered her myrtle, mint, and rushes concealed in rose-bunches and asked her for "beauty and popular favour", and to be made "charming and witty".

Vinalia Rustica (August 19), originally a rustic Latin festival of wine, vegetable growth and fertility. This was almost certainly Venus' oldest festival and was associated with her earliest known form, Venus Obsequens. Kitchen gardens and market-gardens, and presumably vineyards were dedicated to her. Roman opinions differed on whose festival it was. Varro insists that the day was sacred to Jupiter, whose control of the weather governed the ripening of the grapes; but the sacrificial victim, a female lamb (agna), may be evidence that it once belonged to Venus alone.

A festival of Venus Genetrix (September 26) was held under state auspices from 46 BC at her Temple in the Forum of Caesar, in fulfillment of a vow by Julius Caesar, who claimed her personal favour as his divine patron, and ancestral goddess of the Julian clan. Caesar dedicated the temple during his extraordinarily lavish quadruple triumph. At the same time, he was pontifex maximus and Rome's senior magistrate; the festival is thought to mark the unprecedented promotion of a personal, family cult to one of the Roman state. Caesar's heir, Augustus, made much of these personal and family associations with Venus as an Imperial deity. The festival's rites are not known.

Mythology and literature
As with most major gods and goddesses in Roman mythology, the literary concept of Venus is mantled in whole-cloth borrowings from the literary Greek mythology of her counterpart, Aphrodite, but with significant exceptions. In some Latin mythology, Cupid was the son of Venus and Mars, the god of war. At other times, or in parallel myths and theologies, Venus was understood to be the consort of Vulcan or as mother of the "second cupid", fathered by Mercury. Virgil, in compliment to his patron Augustus and the gens Julia, embellished an existing connection between Venus, whom Julius Caesar had adopted as his protectress, and the Trojan prince Aeneas, refugee from Troy's destruction and eventual ancestor of the Roman people. Virgil's Aeneas is guided to Latium by Venus in her heavenly form, the morning star, shining brightly before him in the daylight sky; much later, she lifts Caesar's soul to heaven. In Ovid's Fasti Venus came to Rome because she "preferred to be worshipped in the city of her own offspring". In Virgil's poetic account of Octavian's victory at the sea-battle of Actium, the future emperor is allied with Venus, Neptune and Minerva. Octavian's opponents, Antony, Cleopatra and the Egyptians, assisted by bizarre and unhelpful Egyptian deities such as "barking" Anubis, lose the battle.

The Cupids
Cupid (lust or desire) and Amor (affectionate love) are taken to be different names for the same Roman love-god, the son of Venus, fathered by Mercury, Vulcan or Mars. Childlike or boyish winged figures who accompany Venus, whether singly, in pairs or more, have been variously identified as Amores, Cupids, Erotes or forms of Greek Eros. The most ancient of these is Eros, whom Hesiod categorises as a primordial deity, emerging from Chaos as a generative power with neither mother nor father. Eros was the patron deity of Thespiae, where he was embodied as an aniconic stone as late as the 2nd century AD. From at least the 5th century BC he also had the form of an adolescent or pre-adolescent male, at Elis (on the Peloponnese) and elsewhere in Greece, acquiring wings, bow and arrows, and divine parents in the love-goddess Aphrodite and the war-god Ares. He had temples of his own, and shared others with Aphrodite. At Elis, and in Athens, Eros shared cult with a twin, named Anteros. Xenophon's Socratic Symposion 8. 1, features a dinner-guest with eros (love) for his wife; in return, she has anteros (reciprocal love) for him. Some sources suggest Anteros as avenger of "slighted love". In Servius' 4th century commentary on Virgil's Aeneas, Cupid is a deceptive agent of Venus, impersonating Aeneas' son and making Dido, queen of Carthage, forget her husband. When Aeneas rejects her love, and covertly leaves Carthage to fulfill his destiny as ancestor of the Roman people, Dido is said to invoke Anteros as "contrary to Cupid". She falls into hatred and despair, curses Rome, and when Aeneas leaves, commits suicide.

Ovid's Fasti, Book 4, invokes Venus not by name but as "Mother of the Twin Loves", the gemini amores. "Amor" is the Latin name preferred by Roman poets and literati for the personification of "kindly" love. Where Cupid (lust) can be imperious, cruel, prone to mischief or even war-like, Amor softly persuades. Cato the Elder, having a Stoic's outlook, sees Cupid as a deity of greed and blind passion, morally inferior to Amor. The Roman playwright Plautus, however, has Venus, Cupid and Amor working together.

In Roman cult inscriptions and theology, "Amor" is rare, and "Cupido" relatively common. No Roman temples seem dedicated to Cupid alone but the joint dedication formula Venus Cupidoque ("Venus and Cupid") is evidence of his cult, shared with Venus at her Temple just outside the Colline Gate and elsewhere. He would also have featured in many private household cults. In private and public areas alike, statues of Venus and Mars attended by Cupid, or Venus, Cupid and minor erotes were sometimes donated by wealthy sponsors, to serve both religious and artistic purposes. Cupid's roles in literary myth are usually limited to actions on behalf of Venus; in Cupid and Psyche, one of the stories within The Golden Ass, by the Roman author Apuleius, the plot and its resolution are driven by Cupid's love for Psyche ("soul"), his filial disobedience, and his mother's envy.

Signs, context and symbols

Images of Venus have been found in domestic murals, mosaics and household shrines (lararia). Petronius, in his Satyricon, places an image of Venus among the Lares (household gods) of the freedman Trimalchio's lararium.

The Venus types known as Venus Pompeiana ("Venus of Pompeii") and Venus Pescatrice ("Venus the Fisher-woman") are almost exclusive to Pompeii. Both forms of Venus are represented within Pompeian homes of the well-off, with Venus Pompeiana more commonly found in formal reception spaces, typically depicted in full regalia, draped with a mantle, standing rigidly upright with her right arm across her chest. Images of Venus Pescatrice tend to be more playful, usually found in less formal and less public "non-reception" areas: here, she usually holds a fishing rod, and sits amidst landscape scenery, accompanied by at least one cupid.

Venus' signs are for the most part the same as Aphrodite's. They include roses, which were offered in Venus' Porta Collina rites, and above all, myrtle (Latin myrtus), which was cultivated for its white, sweetly scented flowers, aromatic, evergreen leaves and its various medical-magical properties. Venus' statues, and her worshipers, wore myrtle crowns at her festivals. Before its adoption into Venus' cults, myrtle was used in the purification rites of Cloacina, the Etruscan-Roman goddess of Rome's main sewer; later, Cloacina's association with Venus' sacred plant made her Venus Cloacina. Likewise, Roman folk-etymology transformed the ancient, obscure goddess Murcia into "Venus of the Myrtles, whom we now call Murcia".

Myrtle was thought a particularly potent aphrodisiac. As goddess of love and sex, Venus played an essential role at Roman prenuptial rites and wedding nights, so myrtle and roses were used in bridal bouquets. Marriage itself was not a seduction but a lawful condition, under Juno's authority; so myrtle was excluded from the bridal crown. Venus was also a patron of the ordinary, everyday wine drunk by most Roman men and women; the seductive powers of wine were well known. In the rites to Bona Dea, a goddess of female chastity, Venus, myrtle and anything male were not only excluded, but unmentionable. The rites allowed women to drink the strongest, sacrificial wine, otherwise reserved for the Roman gods and Roman men; the women euphemistically referred to it as "honey". Under these special circumstances, they could get virtuously, religiously drunk on strong wine, safe from male intrusion and Venus' temptations. Outside of this context, ordinary wine (that is, Venus' wine) tinctured with myrtle oil was thought particularly suitable for women.

Venus' long association with wine reflects the inevitable connections between wine, intoxication and sex, expressed in the proverbial phrase sine Cerere et Baccho friget Venus (loosely translated as "without food and wine, Venus freezes). It was used in various forms, notably by the Roman playwright, Terence, probably by others before him, and certainly into the early modern era. Although Venus played a central role in several wine festivals, the Roman god of wine was Bacchus, identified with Greek Dionysus and the early Roman wine-god Liber Pater (Father of Freedom).

Roman generals given an ovation, a lesser form of Roman triumph, wore a myrtle crown, perhaps to purify themselves and their armies of blood-guilt. The ovation ceremony was assimilated to Venus Victrix ("Victorious Venus"), who was held to have granted and purified its relatively "easy" victory.

Classical art
Roman and Hellenistic art produced many variations on the goddess, often based on the Praxitlean type Aphrodite of Cnidus. Many female nudes from this period of sculpture whose subjects are unknown are in modern art history conventionally called "Venus", even if they originally may have portrayed a mortal woman rather than operated as a cult statue of the goddess.

Examples include:
 * Venus de Milo (130 BC)
 * Venus Pudica
 * Capitoline Venus
 * Venus de' Medici

 * Esquiline Venus
 * Venus Felix
 * Venus of Arles
 * Venus Anadyomene (also here)
 * Venus, Pan and Eros
 * Venus Genetrix
 * Venus of Capua
 * Venus Kallipygos

Medieval art
Venus is remembered in De Mulieribus Claris, a collection of biographies of historical and mythological women by the Florentine author Giovanni Boccaccio, composed in 136162. It is notable as the first collection devoted exclusively to biographies of women in Western literature.

Art in the classical tradition
Venus became a popular subject of painting and sculpture during the Renaissance period in Europe. As a "classical" figure for whom nudity was her natural state, it was socially acceptable to depict her unclothed. As the goddess of sexuality, a degree of erotic beauty in her presentation was justified, which appealed to many artists and their patrons. Over time, venus came to refer to any artistic depiction in post-classical art of a nude woman, even when there was no indication that the subject was the goddess.
 * The Birth of Venus (Botticelli) (c. 1485)
 * Sleeping Venus (c. 1501)
 * Venus of Urbino (1538)
 * Venus with a Mirror (c. 1555)
 * Rokeby Venus (1647–1651)
 * Olympia (1863)
 * The Birth of Venus (Cabanel) (1863)
 * The Birth of Venus (Bouguereau) (1879)
 * Venus of Cherchell, Gsell museum in Algeria
 * Venus Victrix, and Venus Italica by Antonio Canova

In the field of prehistoric art, since the discovery in 1908 of the so-called "Venus of Willendorf" small Neolithic sculptures of rounded female forms have been conventionally referred to as Venus figurines. Although the name of the actual deity is not known, the knowing contrast between the obese and fertile cult figures and the classical conception of Venus has raised resistance to the terminology.

title: Venus (mythology)


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Hildegard Knef

Hildegard Frieda Albertine Knef (28 December 1925 – 1 February 2002) was a German actress, singer, and writer. She was billed in some English-language films as Hildegard Neff or Hildegarde Neff.

Early years
Hildegard Knef was born in Ulm in 1925. Her parents were Hans Theodor and Friede Augustine Knef. Her father, a decorated First World War veteran, died when she was only six months old, and her mother moved to Berlin and worked in a factory. Knef began studying acting at age 14 in 1940. She left school at 15 to become an apprentice animator with Universum Film AG. After she had a successful screen test, she went to the State Film School at Babelsberg, Berlin, where she studied acting, ballet, and elocution. Joseph Goebbels, who was Hitler's propaganda minister, wrote to her and asked to meet her, but Knef's friends wanted her to stay away from him.

German film career
When the film "Träumerei" was made in 1944, Knef shot some scenes, which would have marked her film debut, but these were left out of the final cut. She did appear in several films before the fall of Nazi Germany, but most were released only afterward.

During the Battle of Berlin she dressed as a soldier to stay with her lover, Ewald von Demandowsky, and joined him in the defence of Schmargendorf. The Soviets captured her and sent her to a prison camp. Her fellow prisoners helped her escape and return to Berlin. Von Demandowsky was executed by the Russians on 7 October 1946, but before that he secured for Knef the protection of the well-known character actor Viktor de Kowa in Berlin. De Kowa gave her the opportunity to be a mistress of ceremonies in the theatre that he had opened. Knef also got a part in Marcel Pagnol's Marius, which was directed by Boleslaw Barlog. De Kowa also directed Knef in other plays by Shakespeare, Pagnol, and George Abbott.

Her two best known film roles were "Susanne Wallner" in Wolfgang Staudte's film Die Mörder sind unter uns (The Murderers Are Among Us), produced in 1946 by the East German state film company, and the first film released after the Second World War in East Germany; and "Marina" in Die Sünderin (The Sinner), in which she performed a brief nude scene, the first in German film history, which caused a scandal in 1951. The film was also criticised by the Catholic Church, which protested against the nude scene. Knef stated that she didn't understand the tumult that the film was creating. She wrote that it was totally absurd that people considered her nudity to be scandalous, as Germany was the country that had created Auschwitz and had caused so much horror. She also wrote, "I had the scandal, the producers got the money."

In 1948, she received the best-actress award from the Locarno Film Festival because of her role in the film Film Without a Title. Her singing career started in the 1960s once her film career was not going very well. She performed in television shows such as in episodes of Scarecrow and Mrs. King and in a 2000 documentary in which she was playing by herself Marlene Dietrich: Her Own Song.

In the 1960s she appeared in a number of low-budget films, including The Lost Continent.

She appeared in the 1975 screen adaptation of the Hans Fallada novel, Every Man Dies Alone directed by Alfred Vohrer, released in English as Everyone Dies Alone in 1976, and for which she won an award for best actress at the International Film Festival in Karlovy Vary, then Czechoslovakia.

During her career, she performed in over 50 films. Nineteen of her films were produced in countries other than Germany: the United States, United Kingdom, France, Italy, Austria and Spain.

Career in the United States
David O. Selznick invited her to Hollywood, but she refused to agree to the conditions of the contract which reportedly included changing her name to Gilda Christian and pretending to be Austrian rather than German. Knef was cast as Hilde in the Hollywood film Decision Before Dawn (1951), directed by Anatole Litvak and co-starring with Richard Basehart and Oskar Werner in a story about the later part of World War II.

The following year Knef's first husband, an American named Kurt Hirsch, encouraged her to try again for success in the U.S. She changed her name from Knef to Neff, but was only offered a supporting role in The Snows of Kilimanjaro (1952), an adaptation of an Ernest Hemingway short story.

Her reputation in the U.S. was hurt because of her nude scenes in the German film Die Sünderin (1951) and because she fell in love with a Nazi when she was 19.

Finally, in 1955, Knef was offered a starring role in the Broadway musical Silk Stockings by Cole Porter, which was based on the 1939 film Ninotchka, which had starred Greta Garbo in the title role. Knef had acted in at least 30 films in the United States and Europe, but her triumph came in New York when she played Ninotchka, an unemotional Soviet commissar. The New York Times drama critic Brooks Atkinson described her rendition as "an immensely skillful performance."

Singer
In the 1960s, Knef took a break from acting and started writing song lyrics. In 1963 she started a concert and recording career, and she surprised her audiences with the deep, smoky quality of her voice and with lyrics that were written by herself. Fans around the world rallied in her support as she defeated cancer several times. She returned to Berlin after the reunification. In her peak, an entertainment columnist called her the "willowy blonde" who had a "dusty voice" and a "generous mouth".

The song she is mostly remembered for is "Für mich soll's rote Rosen regnen" ("Red roses are to rain for me"). She is also known for her version of the songs "Ich hab noch einen Koffer in Berlin" ("I still have a suitcase in Berlin") and "Mackie Messer" ("Mack the Knife"). She sold more than three million records in total.

She launched 23 original albums which counted for 320 different songs. She wrote the lyrics for 130 songs herself.

Publications
Her autobiography Der geschenkte Gaul: Bericht aus einem Leben (The Gift Horse: Report on a Life, 1970) was a candid recount of her life in Germany during and after the Second World War, and reportedly became the best-selling German book in the post-war years. Her second book Das Urteil (The Verdict, 1975) was a moderate success, and dealt with her struggle with breast cancer. Knef not only achieved international best-seller status, her books were also widely praised by critics because her autobiographies were "better-than-the-average celebrity's".

In The Gift Horse: Report on a Life Knef recounted her childhood and difficult life being an actress and singer while living in Hitler's Berlin and after the war in Europe and America. Arthur Cooper of Newsweek called it "a bitterly honest book and a very good one". The book doesn't try to persuade the public, depicting a made-up celebrity's adventures, but truthfully recounts her struggles as a German woman who grew up in Berlin under the Nazis.The Gift Horse: Report on a Life was translated to English by Knef's second husband, David Anthony Palastanga.

In The Verdict, which was also translated by Palastanga, Knef looked at her life from another perspective, because she knew that she had cancer. Rachel MacKenzie wrote that Knef had her 56th operation, a mastectomy, in Salzburg on 10 August 1973. MacKenzie stated that from that cancer surgery, life had to be thought of in terms of pre-verdict and post-verdict. The book is divided in these two sections but they are not chronologically ordered because Knef wrote the two sections in a way that the reader is moved forward and backward in time and space. The Verdict describes in great detail the hospital scenes as well as the doctors and nurses in New York, Los Angeles, Zürich and Hamburg, where she was hospitalised.

Personal life
Knef was married three times and divorced twice. Her first marriage was in 1947 to Kurt Hirsch, a U.S. information officer. They divorced in 1952. The second time she married the actor and record producer David Anthony Palastanga, on 30 June 1962. Knef had a daughter with him born in 1968, Christina Antonia. When she died, she was still married to her third husband, Paul von Schell.

On February 1, 2002, Knef died at the age of 76 of a lung infection in Berlin, where she had moved after the German reunification. She smoked heavily for most of her life and suffered from emphysema.

Selected filmography

 * The Noltenius Brothers (1945)
 * Frühlingsmelodie (1945) - Zwilling ohne Leberfleck
 * Under the Bridges (1946) - Girl in Havelberg
 * Murderers Among Us (1946) - Susanne Wallner
 * Between Yesterday and Tomorrow (1947) - Das Mädchen Kat
 * Film Without a Title (1948) - Christine Fleming
 * Journey to Happiness (1948) - Susanne Loevengaard
 * The Sinner (1951) - Marina
 * Miracles Still Happen (1951) - Anita Weidner
 * Decision Before Dawn (1951) - Hilde
 * Nights on the Road (1952) - Inge Hoffmann
 * Diplomatic Courier (1952) - Janine Betki
 * The Snows of Kilimanjaro (1952) - Countess Liz
 * Night Without Sleep (1952) - Lisa Muller
 * Alraune (1952) - Alraune
 * Henriette (1952) - Rita Solar
 * Illusion in a Minor Key (1952) - Lydia Bauer
 * The Man Between (1953) - Bettina
 * A Love Story (1954) - Lili Schallweiß, Schauspielerin
 * It Was Always So Nice With You (1954) - minor role (uncredited)
 * Confession Under Four Eyes (1954) - Hilde Schaumburg-Garden
 * Svengali (1954) - Trilby
 * Escape from Sahara (1958) - Madeleine Durand
 * The Daughter of Hamburg (1958) - Maria
 * Subway in the Sky (1959) - Lilli Hoffman
 * The Man Who Sold Himself (1959) - Martina Schilling
 * La strada dei giganti (1960) - Maria Luisa di Borbone
 * No Orchids for Lulu (1962) - Baroness Geschwitz
 * Ipnosi (1962)
 * Caterina di Russia (1963) - Catherine the Great
 * Landru (1963) - Mme X. / Madame Ixe
 *  (1963) - Jenny Diver
 * Ballade pour un voyou (1963) - Martha Schwartz
 * And So to Bed (1963) - Callgirl
 * Gibraltar (1964) - Elinor van Berg
 * Waiting Room to the Beyond (1964) - Laura Lorelli
 * Condemned to Sin (1964) - Alwine
 * Mozambique (1964) - Ilona Valdez
 * The Dirty Dozen (1967) - (uncredited)
 * The Lost Continent (1968) - Eva Peters
 * Everyone Dies Alone (1976) - Anna Quangel
 * Fedora (1978) - The Countess
 * Why the UFOs Steal Our Lettuce (1980) - Peter's mother
 * Der Gärtner von Toulouse (1982) - Frau Théophot
 * The Future of Emily (1984) - Mutter Paula
 * Witchery (1988) - Lady in black
 * Pocahontas (1995) - (German dub)
 * An Almost Perfect Wedding (1999) - Marlene Wolf-Schönberg - Hennys aunt

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Hildegard Knef


text:
Talk:Figure eight knot

Trivial knot
I think a knot theorist would say that a knot that looks like the figure eight is the trivial knot, ot the unknot. You just take a cirle and twist it in the middle and you have an eight, no? AxelBoldt
 * That does confuse some people, sure. But the figure-eight knot isn't defined as "a knot that looks like the figure eight".  And if you take a look at the Figure-eight knot, you'll see that it indeed looks like a figure eight--with a band passed through one of the loops to prevent untwisting it into the unknot. 35.11.50.219 22:37, 4 September 2006 (UTC)

Disambiguation
I hope nobody minds, but I have made this page a disambiguation page. Mainly, the number of references to this page have been increasingly mathematical. One reason is that I've been using the term "figure eight knot" in some math articles I create; however, this is standardized terminology in knot theory, whereas it appears to me that "figure-of-eight knot" is just as common as "figure eight knot" for the real world object. So I've taken advantage of this difference in terminology to direct stuff appropriately.

I've kept occurrences of figure eight knot referring to the real world object in place ( figure eight knot, when the reference is in an article on another knot of a similar name, e.g. double figure eight., but in other cases I would recommend linking to figure-of-eight knot directly.

Mathematicians should use figure-eight knot or figure eight knot. --C S (Talk) 22:42, 19 March 2006 (UTC)
 * Two articles and Dab'n are appropriate, but not as implemented:
 * The use of "of" and hyphenation to distinguish Dab from article is arbitrary and thus confusing.
 * It's unlikely that those who are aware of knot theory (i was a math major and know of it only from roommates) are anywhere as numerous as those who learn knots in youth organizations, or even those specifically learning the fig-8 for rock climbing or glacier travel.
 * In any case, those who have heard of knot theory can't help knowing that it is paralleled by physical knots (and those who know more than a dictdef of knot theory will have specifically visualized the figure 8 as a physical knot, even if they never tie one). In contrast, the more attention the physical-fig-8 user has to give to knot theory on their route to that article, the worse they are being served.
 * Some primitive knot-theory-like concepts probably belong in a section of the physical knot article: at least something beginning along these lines:
 * The standard conventions of the mathematical theory of knots are abstract enough to regard all figure-eight knots as indistinguishable. In many important uses of physical figure-eight knots, however, the person tying the knot cares a great deal about the fact of one of the two stretches of rope outside the knot being at least five or ten times as long as the other. Thus a distinction may be relevant between one physical knot, and another that has equivalent turns and crossings, but differs in which of those features are adjacent to the longer and which to the shorter end of the rope. One fairly natural naming scheme describes the knot as right-handed when tied by a popular series of steps, in which the tier's right hand manipulates the rope between its closer end and a position along the rope, namely the fairly closely fixed point where the left hand mostly grips and steadies the rope. Such a scheme also naturally establishes a front and back face of the resulting knot, reflecting the knot-tiers view of it.
 * This can lay the basis for describing the tying-method referred to, other methods with equivalent results, elaborations like the retraced figure-eight, the flat and the compact dressings of it, the fisherman's-knot "stopper" or the sport finish, and issues in untying.
 * Figure eight knot Figure-eight knot should become the title of the physical-knot article, and begin with a HatNote Dab to Figure eight knot (mathematics) Figure-eight knot (mathematics); the variants with hyphens and/or "of" should all be Rdrs to that physical-knot article. ( BTW, while leaving out the hyphens is probably appropriate for the titles, "figure-eight knot" is proper in titles, prose and captions.) --Jerzy•t 11:15, 14 & 06:30, 15 October 2008 (UTC)
 * I have marked up (and re-signed) my preceding contrib, since i find i am mistaken in believing that the use of hyphens, commas, and the like in titles is discouraged by guidelines. In fact Naming conventions indicates (now, and perhaps always has) nothing closer to that than for characters that could screw up the article page's URL. Figure-eight knot is the appropriate title. (Note that "figure-eight knot" is appropriate for a knot known as or otherwise related to the figure eight; "figure eight knot" probably should be reserved for a figure named or otherwise related to "eight knot" -- perhaps a graphic pertaining to the speed of eight knots, or a sketched symbol conventionally accepted as an icon for the eighth knot on some list. --Jerzy•t 06:30, 15 October 2008 (UTC)

title: Talk:Figure eight knot


text:
BBC World Service

The BBC World Service is an international broadcaster owned and operated by the BBC. It is the world's largest external broadcaster in terms of reception area, language selection and audience reach. It broadcasts radio news, speech and discussions in more than 40 languages to many parts of the world on analogue and digital shortwave platforms, internet streaming, podcasting, satellite, DAB, FM and MW relays. In 2015, the World Service reached an average of 210 million people a week (via TV, radio and online). In November 2016, the BBC announced that it would start broadcasting in additional languages including Amharic and Igbo, in its biggest expansion since the 1940s.

BBC World Service English maintains eight regional feeds with several programme variations, covering, respectively, East and South Africa; West and Central Africa; Europe and Middle East; the Americas and Caribbean; East Asia; South Asia; Australasia; and the United Kingdom. There are also two separate online-only streams with one being more news-oriented, known as News Internet. The service broadcasts 24 hours a day.

The World Service states that its aim is to be "the world's best-known and most-respected voice in international broadcasting", while retaining a "balanced British view" of international developments. Former director Peter Horrocks visualised the organisation as fighting an "information war" of soft power against Russian and Chinese international state media, including RT. As such, the BBC has been banned in both Russia and China, the former following its 2022 invasion of Ukraine.

The director of the BBC World Service is Liliane Landor; the controller of the BBC World Service in English is Jon Zilkha.

Early years
The BBC World Service began on 19 December 1932 as the BBC Empire Service, broadcasting on shortwave and aimed principally at English speakers across the British Empire. In his first Christmas Message (1932), King George V characterised the service as intended for "men and women, so cut off by the snow, the desert, or the sea, that only voices out of the air can reach them". First hopes for the Empire Service were low. The Director-General, Sir John Reith, said in the opening programme:

"Don't expect too much in the early days; for some time we shall transmit comparatively simple programmes, to give the best chance of intelligible reception and provide evidence as to the type of material most suitable for the service in each zone. The programmes will neither be very interesting nor very good."

This address was read out five times as the BBC broadcast it live to different parts of the world. Recording from original BBC archive disks

World War II
The BBC would continue to claim independence from the Government during the war, but as Asa Briggs noted, a complete picture of the wartime BBC would have to include 'persistent references' to the various connected agencies of the government. Chiefly, the Political Warfare Executive, responsible for all broadcasts to Europe.

On 3 January 1938 the first foreign-language service was launched—in Arabic. Programmes in German, Italian and French began broadcasting on 27 September 1938 projecting the British quest for peace in the days prior to the conference on the Munich Agreement.

By the end of 1942, the BBC had started broadcasts in all major European languages. The Empire Service was renamed the BBC Overseas Service in November 1939, supplemented by the addition of a dedicated BBC European Service from 1941. Funding for these services—known administratively as the External Services of the BBC—came not from the domestic licence fee but from government grant-in-aid (from the Foreign Office budget).

The External Services broadcast propaganda during the Second World War, on the German-language service Londoner Rundfunk especially against Nazi rule, believed in the early days of the war at least to have weak support. Its French service Radio Londres also sent coded messages to the French Resistance. George Orwell broadcast many news bulletins on the Eastern Service during the Second World War. The Belgian government in exile broadcast from Radio Belgique.

Cold War
The 1956 Hungarian uprising held enormous implications for international radio broadcasting as it related to western foreign policy during the Cold War. Western broadcasts (especially the US's RFE) incited an expectation of support that had already been decided against by President Eisenhower. The BBC, unlike other broadcasters, did not lose credibility in the crisis. It showed sensitivity and acted as its own censor when diplomacy may have been jeopardised otherwise.

In stark contrast stood the BBC's reporting on the Suez Crisis of the same year. Although the British government tried to censor the BBC, it continued its even-handed reporting to both home as well as all foreign audiences. The row had the government seriously consider taking over the service when then prime minister Anthony Eden wanted to ensure that only the government line—that the British and French only invaded Eqypt to keep peace and because its president Nasser was breaking international law—would reach the home (and international) audience.

By the end of the 1940s the number of broadcast languages had expanded and reception had improved, following the opening of a relay in Malaya and of the Limassol relay in Cyprus in 1957.

Also in 1957, a number of foreign language services were discontinued, or reduced.

In 1962, the Foreign Office argued that the VOA's philosophy, as presented to it by its then director Henry Loomis, not to broadcast to fully-developed allied countries in their respective languages should be adopted by the BBC. The reluctance of the BBC to drop those services was predicted also.

On 1 May 1965 the service took its current name of BBC World Service. It expanded its reach with the opening of the Ascension Island relay in 1966, serving African audiences with a stronger signal and better reception, and with the later relay on the Island of Masirah in Oman.

In August 1985 the service went off-air for the first time when workers went on strike in protest at the British government's decision to ban a documentary featuring an interview with Martin McGuinness of Sinn Féin.

Subsequently, financial pressures decreased the number and the types of services offered by the BBC. Audiences in countries with wide access to Internet services have less need for terrestrial radio. Broadcasts in German ended in March 1999, after research showed that the majority of German listeners tuned into the English-language service. Broadcasts in Dutch, Finnish, French, Hebrew, Italian, Japanese and Malay stopped for similar reasons.

Twenty-first century

On 25 October 2005, the BBC announced that broadcasts in Bulgarian, Croatian, Czech, Greek, Hungarian, Kazakh, Polish, Slovak, Slovene and Thai would end by March 2006, to finance the launch in 2007 of television news services in Arabic and Persian. Additionally, Romanian broadcasts ceased on 1 August 2008.

In 2007, the last FM broadcast of BBC News Russian was discontinued at the order of the Russian government. Finam owned Bolshoye Radio, the last of three services to drop the BBC Russia broadcasts. A spokesman for the organization claimed that 'any media which is government-financed is propaganda – it's a fact, it's not negative'. Reports put the development in the context of criticism of the Russian government for curbing media freedom ahead of the 2008 Russian presidential election. Reporters Without Borders condemned the move as censorship.

In 2011, BBC Kyrgyz service newsreader and producer Arslan Koichiev resigned from his BBC post after revelations and claims of involvement in the Kyrgyzstan revolution of April 2010. He had been based in London, but often travelled to Kyrgyzstan and used BBC resources to agitate against President Kurmanbek Bakiyev, appearing on a Kyrgyz radio station under a pseudonym with a disguised voice. One of the leaders of the revolution, Aliyasbek Alymkulov, named the producer as his mentor and claimed that they had discussed preparations for the revolution. According to London newspaper the Evening Standard, "Mr Alymkulov claimed that Koichiev arranged secret meetings "through the BBC" and organised the march at the presidential palace on 7 April 2010"

In October 2010, the UK government announced that it was reducing the service’s revenue funding by 16% and its capital funding by 52% by 2017. This necessitated over 650 staff leaving. Funding from the Foreign & Commonwealth Office would end in April 2014, when funding would mainly be from the television licence fee. From 2010, the service started transforming from a mainly radio-based operation to multi-media.

In January 2011, the closure of the Albanian, Macedonian, and Serbian, as well as English for the Caribbean and Portuguese for Africa, services was announced. The British government announced that the three Balkan countries had wide access to international information, and so broadcasts in the local languages had become unnecessary. This decision reflected the financial situation the Corporation faced following transfer of responsibility for the Service from the Foreign Office, so that it would in future have been funded from within licence-fee income. The Russian, Ukrainian, Mandarin Chinese, Turkish, Vietnamese and Spanish for Cuba services ceased radio broadcasting, and the Hindi, Indonesian, Kyrgyz, Nepali, Swahili, Kinyarwanda and Kirundi services ceased shortwave transmissions. As part of the 16% budget cut, 650 jobs were eliminated.

In 2012 London staff moved from Bush House to Broadcasting House, so co-located with other BBC News departments. About 35% of its 1,518 full-time equivalent staff in 2014 were based overseas at 115 locations. From 2014 the service became part of World Service Group under the Director of BBC News and Current Affairs.

From 2016, 1,100 additional staff were recruited as part of an expansion of the World Service, about a 70% increase, funded by the Foreign, Commonwealth & Development Office providing £254 million/year for five years, partly a reversal of the government decision that the television licence fee would fund the service from 2014. This was the biggest service expansion since World War II.

In 2022, a new London-based China unit was in development, described by the government as "focused on exposing the challenges and realities currently facing China and its fight for global influence".

Operation
The Service broadcasts from Broadcasting House in London, which is also headquarters of the corporation. It is located in the newer parts of the building, which contains radio and television studios for use by the overseas language services. The building also contains an integrated newsroom used by the international World Service, the international television channel BBC World News, the domestic television and radio BBC News bulletins, the BBC News Channel and BBC Online.

At its launch, the Service was located along with most radio output in Broadcasting House. However, following the explosion of a parachute mine nearby on 8 December 1940, it relocated to premises away from the likely target of Broadcasting House. The Overseas service relocated to Oxford Street while the European service moved temporarily to the emergency broadcasting facilities at Maida Vale Studios. The European services moved permanently into Bush House towards the end of 1940, completing the move in 1941, with the Overseas services joining them in 1958. Bush House subsequently became the home of the BBC World Service and the building itself has gained a global reputation with the audience of the service. However, the building was vacated in 2012 as a result of the Broadcasting House redevelopment and the end of the building's lease that year; the first service to move was the Burmese Service on 11 March 2012 and the final broadcast from Bush House was a news bulletin broadcast at 11.00GMT on 12 July 2012.

The BBC World Service encompasses an English 24-hour global radio network and separate services in 27 other languages. News and information is available in these languages on the BBC website, with many having RSS feeds and specific versions for use on mobile devices, and some also offer email notification of stories. In addition to the English service, 18 of the language services broadcast a radio service using the short wave, AM or FM bands. These are also available to listen live or can be listened to later (usually for seven days) over the Internet and, in the case of seven language services, can be downloaded as podcasts. News is also available from the BBC News 'app', which is available from both iTunes and the Google Play Store. In recent years, video content has also been used by the World Service: 16 language services show video reports on the website, and the Arabic and Persian services have their own television channels. TV is also used to broadcast the radio service, with local cable and satellite operators providing the English network (and occasionally some local language services) free to air. The English service is also available on digital radio in the UK and Europe.

Traditionally, the Service relied on shortwave broadcasts, because of their ability to overcome barriers of censorship, distance, and spectrum scarcity. The BBC has maintained a worldwide network of shortwave relay stations since the 1940s, mainly in former British colonies. These cross-border broadcasts have also been used in special circumstances for emergency messages to British subjects abroad, such as the advice to evacuate Jordan during the Black September incidents of September 1970. These facilities were privatised in 1997 as Merlin Communications, and later acquired and operated as part of a wider network for multiple broadcasters by VT Communications (now part of Babcock International Group). It is also common for BBC programmes to air on Voice of America or ORF transmitters, while their programming is relayed by a station located inside the UK. However, since the 1980s, satellite distribution has made it possible for local stations to relay BBC programmes.

BBC World Service is not regulated by Ofcom as the BBC generally is. Instead, the BBC is responsible for editorial independence and setting strategic direction. It defines the remit, scope, annual budget and main commitments of the World Service, and agrees "objectives, targets and priorities" with the British Foreign Secretary in a document named the BBC World Service Licence. The Chair of the BBC Board and the Foreign Secretary (or representatives) meet at least annually to review performance against these objectives, priorities and targets.

Funding
The World Service was funded for decades by grant-in-aid through the Foreign and Commonwealth Office until 1 April 2014. Since then it has been funded by a mixture of the United Kingdom's television licence fee, limited advertising profits of BBC Studios, and Foreign, Commonwealth and Development Office funding.

From 2014 the service was guaranteed £289 million (allocated over a five-year period ending in 2020) from the UK government. In 2016, the government announced that the licence fee funding for the World Service would be £254 million/year for the five years from 2017. From 2016 to 2022 the Foreign, Commonwealth and Development Office contributed over £470 million to the World Service via its World 2020 Programme, about 80% of which is categorised as Overseas Development Assistance, amounting to about a quarter of the World Service budget. In November 2022, the government confirmed the continuing involvement of the Foreign, Commonwealth and Development Office in funding the World Service.

Languages
This table lists the various language services operated by the BBC World Service with start and closure dates, where known/applicable.

Radio programming in English
The World Service in English mainly broadcasts news and analysis. The mainstays of the current schedule are Newsday, Newshour and The Newsroom. Daily science programmes include: Health Check, and Science in Action. Sportsworld, which often includes live commentary of Premier League football matches is broadcast at weekends. Other weekend sport shows include The Sports Hour and Stumped, a cricket programme co-produced with All India Radio and the Australian Broadcasting Corporation. On Sundays the international, interdisciplinary discussion programme 'The Forum' is broadcast. Outlook is a human interest programme which was first broadcast in July 1966 and presented for more than thirty years by John Tidmarsh. Trending describes itself as "explaining the stories the world is sharing..." Regular music programmes were reintroduced with the autumn schedule in 2015. Many programmes, particularly speech-based ones, are also available as podcasts. Business Daily is a weekday live international business news programme, which broadcasts from 8:32:30am to 8:59:00am UK time from Broadcasting House in London.

Previous radio programming in English
Previous broadcasts included popular music programmes presented by John Peel and classical music programmes presented by Edward Greenfield. There have also been religious programmes, of mostly Anglican celebration and often from the Church of St. Martin in the Fields, weekly drama, English-language lessons, and comedy including Just A Minute. Other notable previous programmes include Letter from America by Alistair Cooke, which was broadcast for over fifty years; Off the Shelf with its daily reading from a novel, biography or history book; A Jolly Good Show, a music request programme presented by Dave Lee Travis; Waveguide, a radio reception guide; and The Merchant Navy Programme, a show for seafarers presented by Malcolm Billings; The Morning Show, Good Morning Africa and PM, all presented by Pete Myers in the 1960s and 1970s.

Since the late 1990s, the station has focused more on news, with bulletins added every half-hour following the outbreak of the Iraq War.

News
News is at the core of the scheduling. A five-minute bulletin is generally transmitted at 01 past the hour, with a two-minute summary at 30 past the hour. Sometimes these are separate from other programming, or alternatively made integral to the programme (such as with The Newsroom, Newshour or Newsday). During such time slots as weeknights 11pm-12am GMT and that of Sportsworld, no news summaries are broadcast. As part of the BBC's policy for breaking news, the Service is the first to receive a full report for foreign news.

Americas
BBC World Service is available by subscription to Sirius XM's satellite radio service in the United States. Its Canadian affiliate, Sirius XM Canada, does the same in Canada. More than 300 public radio stations across the US carry World Service news broadcasts—mostly during the overnight and early-morning hours—over AM and FM radio, distributed by American Public Media (APM). Some public radio stations also carry the World Service in its entirety via HD Radio. The BBC and Public Radio International (PRI) co-produce the programme The World with WGBH Radio Boston, and the BBC was previously involved with The Takeaway morning news programme based at WNYC in New York City. BBC World Service programming also airs as part of CBC Radio One's CBC Radio Overnight schedule in Canada.

BBC shortwave broadcasts to this region were traditionally enhanced by the Atlantic Relay Station and the Caribbean Relay Company, a station in Antigua run jointly with Deutsche Welle. In addition, an exchange agreement with Radio Canada International gave access to their station in New Brunswick. However, "changing listening habits" led the World Service to end shortwave radio transmission directed to North America and Australasia on 1 July 2001. A shortwave listener coalition formed to oppose the change.

The BBC broadcasts to Central America and South America in several languages. It is possible to receive the Western African shortwave radio broadcasts from eastern North America, but the BBC does not guarantee reception in this area. It has ended its specialist programming to the Falkland Islands but continues to provide a stream of World Service programming to the Falkland Islands Radio Service.

Asia
For several decades, the World Service's largest audiences have been in Asia, the Middle East, Near East and South Asia. Transmission facilities in the UK and Cyprus were supplemented by the former BBC Eastern Relay Station in Oman and the Far Eastern Relay Station in Singapore, formerly in Malaysia. The East Asian Relay Station moved to Thailand in 1997 when Hong Kong was handed over to Chinese sovereignty. The relay station in Thailand was closed during January 2017, and in Singapore during July 2023; currently, a relay station in Masirah, Oman serves the Asian region. Together, these facilities have given the BBC World Service an easily accessible signal in regions where shortwave listening has traditionally been popular. The English shortwave frequencies of 6.195 (49m band), 9.74 (31m band), 15.31/15.36 (19m band) and 17.76/17.79 (16m band) were widely known. On 25 March 2018, the long-established shortwave frequency of 9.74 MHz was changed to 9.9 MHz.

The largest audiences are in English, Hindi, Urdu, Nepali, Bengali, Sinhala, Tamil, Marathi and other major languages of South Asia, where BBC broadcasters are household names. The Persian service is the de facto national broadcaster of Afghanistan, along with its Iranian audience. The World Service is available up to eighteen hours a day in English across most parts of Asia, and in Arabic for the Middle East. With the addition of relays in Afghanistan and Iraq these services are accessible in most of the Middle and Near East in the evening. In Singapore, the BBC World Service in English is essentially treated as a domestic broadcaster, easily available 24/7 through long-term agreement with MediaCorp Radio. For many years Radio Television Hong Kong broadcast BBC World Service 24/7 but as of 12 February 2021, Hong Kong has banned the BBC's World Service radio from its airwaves, following swiftly on the heels of China's decision to bar its World News television channels, seemingly in retaliation for Ofcom revoking the UK broadcasting licence of China Global Television Network. In the Philippines, DZRJ 810 AM and its FM sister station RJFM 100.3 broadcasts the BBC World Service in English from 06:00 to 20:00 PHT from Mondays to Saturdays.

Although this region has seen the launch of the only two foreign language television channels, several other services have had their radio services closed as a result of budget cuts and redirection of resources.

Japan and Korea have little tradition of World Service listening, although during the Second World War and in the 1970s to 1980s, shortwave listening was popular in Japan. In those two countries, the BBC World Service was only available via shortwave and the Internet. As of September 2007, a satellite transmission (subscription required) became available by Skylife (Channel 791) in South Korea. In November 2016, the BBC World Service announced it plans to start broadcasts in Korean. BBC Korean, a radio and web service, started on 25 September 2017.

Jamming
The Soviet Union, Iran, Iraq and Myanmar/Burma have all jammed the BBC in the past. Mandarin was heavily jammed by the People's Republic of China until shortwave transmissions for that service ceased but China continues to jam transmissions in Uzbek and has since started to jam transmissions in English throughout Asia.

Europe
The BBC World Service is broadcast in Berlin on 94.8 MHz. FM relays are also available in Ceske Budjovice, Karlovy Vary, Plzen, Usti nad Labem, Zlin and Prague in the Czech Republic, Pristina, Riga, Tallinn, Tirana and Vilnius. The station is also available in Reykjavík, Iceland on 94.5 MHz FM. A BBC World Service channel is available on DAB+ in Brussels and Flanders and Amsterdam, the Hague, Utrecht and Rotterdam. Following a national reorganisation of DAB multiplexes in October 2017, the station is available on DAB+ across the whole of Denmark.

The World Service employed a medium wave transmitter at Orford Ness to provide English-language coverage to Europe, including on the frequency 648 kHz (which could be heard in parts of the south-east of England during the day and most of the UK after dark). Transmissions on this frequency were stopped on 27 March 2011, as a consequence of the budgetary constraints imposed on the BBC World Service in the 2010 budget review. A second channel (1296 kHz) traditionally broadcast in various Central European languages, but this frequency has also been discontinued and in 2005 it began regular English-language transmissions via the Digital Radio Mondiale (DRM) format. This is a digital shortwave technology that VT expects to become the standard for cross-border transmissions in developed countries.

In the 1990s, the BBC purchased and constructed large medium wave and FM networks in the former Soviet bloc, particularly the Czech (BBC Czech Section), Slovak Republics (BBC Slovak Section), Poland (BBC Polish Section) (where it was a national network) and Russia (BBC Russian Service). It had built up a strong audience during the Cold War, whilst economic restructuring made it difficult for these governments to refuse Western investment. Many of these facilities have now returned to domestic control, as economic and political conditions have changed.

On Monday, 18 February 2008, the BBC World Service stopped analogue shortwave transmissions to Europe. The notice stated, "Increasing numbers of people around the world are choosing to listen to radio on a range of other platforms including FM, satellite and online, with fewer listening on shortwave." It is sometimes possible to pick up the BBC World Service in Europe on SW frequencies targeted at North Africa. The BBC's powerful 198 kHz LW, which broadcasts the domestic BBC Radio 4 to Britain during the day (and carries the World Service during the night) can also be heard in nearby parts of Europe, including the Republic of Ireland, the Netherlands, Belgium and parts of France, Germany and Scandinavia.

In Malta, BBC News bulletins are carried by a number of radio stations, including Radju Malta and Magic 91.7, owned by national broadcaster PBS Ltd. These are broadcast at various points in the day and supplement news bulletins broadcast in Maltese from the PBS Newsroom.

Former BBC shortwave transmitters are located in the United Kingdom at Rampisham Down in Dorset, Woofferton in Shropshire and Skelton in Cumbria. The former BBC East Mediterranean Relay Station is in Cyprus.

In response to the 2022 Russian invasion of Ukraine, the BBC began broadcasting World Service English programming at shortwave frequencies 15.735 MHz and 5875 kHz for receivers in Ukraine and parts of Russia.

Pacific
The World Service is available as part of the subscription Digital Air package (available from Foxtel and Austar) in Australia. ABC NewsRadio, SBS Radio, and various community radio stations also broadcast many programmes. Many of these stations broadcast a straight feed during the midnight to dawn period. It was also available via the satellite service Optus Aurora, which is encrypted but available without subscription. In Sydney, Australia, a transmission of the service can be received at 152.025 MHz. It is also available on the DAB+ Network in Australia on SBS Radio 4 (except during Eurovision and special events). 2MBS-FM 102.5, a classical music station in Sydney, also carries the BBC World Service news programmes at 7a.m. and 8a.m. on weekdays, during its Music for a New Day breakfast programme.

Shortwave relays from Singapore (see Asia, above) continue, but historic relays via Australian Broadcasting Corporation (ABC) and Radio New Zealand International were wound down in the late 1990s. BBC World Service relays on Radio Australia now carry the BBC Radio news programmes.

In the Pacific and New Zealand, the Auckland Radio Trust operates a BBC World Service network as a non-profit donation-funded public broadcaster. It broadcasts on 810 kHz in Auckland, 107.0 MHz in Whitianga and Whangamatā, 107.3 MHz in Kaipara Harbour, 88.2 MHz in Suva and Nadi, 100.0 MHz in Bairiki and Tarawa, 101.1 MHz in Pohnpei, 107.6 MHz in Port Moresby, 105.9 MHz in Honiara, 99.0 MHz in Port Vila and Luganville, and 100.1 MHz in Funafuti. The station also broadcasts local content.

In New Zealand, AREC FM carries the BBC World Service 24/7 in the Wellington region. Available on 107.0 MHz in the CBD, 87.6 MHz in Porirua/Mana, and 87.9 MHz in Waikanae/Paraparaumu. AREC FM is a non-profit donation funded LPFM broadcaster and a subscriber to the Community Broadcasting Association of Australia's Community Radio Network (Australia).

In New Zealand, Radio Tarana and members of the Association of Community Access Broadcasters carry some BBC World Service programmes. The BBC World Service was previously available on 1233 kHz in Wellington between 1990 and 1994, and again from 1996 to 1997.

UK
The BBC World Service is broadcast on DAB, Freeview, Virgin Media and Sky platforms, as well as on BBC Sounds. It is also broadcast overnight on the frequencies of BBC Radio 4 and the Welsh language service BBC Radio Cymru following their closedown at 0000 or 0100 British time. The BBC World Service does not receive funding for broadcasts to the UK. In southeast England, the station could be picked up reliably on medium wave 648 kHz, which was targeted at mainland Europe.

According to RAJAR, the station broadcasts to a weekly audience of 1.2 million with a listening share of 0.7% as of March 2024.

Opening tune
The World Service uses several tunes and sounds to represent the station. A previous signature tune of the station was a five note motif, composed by David Arnold and which comprises a variety of voices declaim "This is the BBC in..." before going on to name various cities (e.g. Kampala, Milan, Delhi, Johannesburg), followed by the station's slogan and the Greenwich Time Signal. This was heard throughout the network with a few variations – in the UK the full service name was spoken, whereas just the name of the BBC was used outside the UK. The phrase "This is London" was used previously in place of a station slogan.

The tune "Lillibullero" was another well known signature tune of the network following its broadcast previously as part of the top-of-the-hour sequence. This piece of music is no longer heard before news bulletins. The use of the tune gained minor controversy because of its background as a Protestant marching song in Northern Ireland.

The Prince of Denmark's March (commonly known as the Trumpet Voluntary) was often broadcast by the BBC Radio during World War II, especially when programming was directed to occupied Denmark, as the march symbolised a connection between the two countries. It remained for many years the signature tune of the BBC European Service.

In addition to these tunes, the BBC World Service also uses several interval signals. The English service uses a recording of Bow Bells, made in 1926 and used a symbol of hope during the Second World War, only replaced for a brief time during the 1970s with the tune to the nursery rhyme "Oranges and Lemons". The morse code of the letter "V" has also been used as a signal and was introduced in January 1941 and had several variations including timpani, the first four notes of Beethoven's Fifth Symphony (which coincide with the letter "V"), and electronic tones which until recently remained in use for some Western European services. In other languages, the interval signal is three notes, pitched B–B-C. However, these symbols have been used less frequently.

Time
The network operates using Greenwich Mean Time, regardless of the time zone and time of year, and is announced on the hour on the English service as "13 hours GMT" (1300 GMT) or "Midnight Greenwich Mean Time" (0000 GMT). The BBC World Service traditionally broadcasts the chimes of Big Ben in London at the start of a new year.

"This is London"
A BBC News report would begin with its station identification phrase "This is London" or "This is London calling". The phrase has become a trademark of the BBC World Service, and has been influential in popular culture, such as music. In 1979, the British punk rock band The Clash released the hit song "London Calling", which was partly based on the station identification phrase.

During the Eurovision Song Contest, before announcing the contest points from the UK, the broadcaster from the BBC delivering the votes usually begins with "This is London Calling". In 2019, the BBC started a weekly podcast called Eurovision Calling with Jayde Adams and Scott Mills.

Magazine publishing
The BBC World Service previously published magazines and programme guides:

 * London Calling: listings
 * BBC Worldwide: included features of interest to an international audience (included London Calling as an insert)
 * BBC on Air: mainly listings
 * BBC Focus on Africa: current affairs

British soft power
The World Service claims that its aim is to be "the world's best-known and most-respected voice in international broadcasting, thereby bringing benefit to the UK, the BBC, and to audiences around the world", while retaining a "balanced British view" of international developments. In 2022, the Financial Times wrote that the World Service "is considered a pillar of British soft power", and a House of Lords Library report noted the widespread recognition of this soft power. According to the American socialist magazine Monthly Review in 2022, former director Peter Horrocks inferred the World Service's scope to Russian state broadcaster RT as a means of extending international influence and soft power.

In 2014, Conservative MP John Whittingdale, chair of the Culture, Media and Sport Select Committee, characterising the BBC's primary mission as fighting an 'Information War' (a role which some media scholars agree to ), saying: "We are being outgunned massively by the Russians and Chinese and that’s something I’ve raised with the BBC. It is frightening the extent to which we are losing the information war.” In March 2022, as the Russian invasion of Ukraine started, the UK government announced additional emergency funding for the World Service to provide "independent, impartial and accurate news to people in Ukraine and Russia in the face of increased propaganda from the Russian state" and to counter "Putin’s lies and exposing his propaganda and fake news".

BBC Persian Service
In the context of the Iranian Revolution, the BBC World Service's Persian-language service has been criticised for its role in promoting the Shah's regime and undermining local norms in favour of British-selected values, with the British Ambassador in Iran, Peter Ramsbotham, stating in reaction to a Service-sponsored poetry contest (in celebration of the 2500th anniversary of the founding of the Archaemenid empire) that the organisation "seems to be damaging its image by acquiring a reputation for employing and supporting 'old brigade' expatriates."

Furthermore, it appears that the Foreign & Commonwealth Office made a concerted effort to produce favourable coverage of Persia to BBC World Service audiences in order to maintain cordiality with the Shah's regime. For example, in December 1973, a memo from Ramsbotham details a request from the Iranian Prime Minister for the text of a broadcast about Iran by Peter Avery, lecturer in Persian Studies and Fellow at King's College, Cambridge, which he deemed 'excellent' and wanted to show the Shah. This later became the programme Iran: Oil and the Shah's Arab Neighbours which was aired globally on 1 December 1973, much to the chagrin of the Iranian people, who began airing their frustrations against the British government out on the BBC Persian Service; By 1976, Ramsbotham's successor, Sir Anthony Parsons, concluded that the Persian Service has lost its propaganda value and supported discontinuing the service: "[It] is well known that the vernacular service is financed by the FCO and is therefore firmly considered by the Iranians as an official organ of the government."

In September 2022, the World Service announced the closure of its Persian and Arabic radio services as part of a cost-cutting plan, but the online and TV services would remain.

title: BBC World Service