Cf. Mauro Pesce, ed., Le parole dimenticate di Gesu (Milan: Lorenzo Valla-Mondadori, ), J Maria Grazia Mara, II Vangelo di Pietro ( Bologna. Anthropological and Historical Perspectives Adriana Destro, Mauro Pesce Pesce M., a, Le parole dimenticate di Gesù, Milano, Fondazione Lorenzo Valla. Mauro Pesce, Professore Ordinario di Storia del Cristianesimo. Gesù e il movimento post-gesuano: soltanto ebrei. CERCA PAROLE Adriana Destro and Mauro Pesce: The Cultural Structure of the Infancy Narrative in the Gospel of Matthew Mauro Pesce, Francesca Prescendi, François Rosset, Anders Runesson.
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Stratiki investigates Pausanias’ descriptions of the Dionysiac myths and cults associated with Patras. Euripides’ Bacchae also receives extensive treatment. Carmen Encinas Reguero analyses the different pqrole underlying the names of Dionysus in the Bacchae. While Pausanias suggests that the associations of Dionysus with the region were a relatively recent innovation, Stratiki argues instead that these myths and cults were in fact foundational for Patras.
Claude Calame investigates the dithyramb and its relation to Dionysus. The plunge into the sea did not simply signify the normal rite of passage to adulthood, but the more fundamental transition from mortality to immortality.
Though the evidence is fragmentary, she dimenticxte on the analogy of the Thyiads’ celebration in Delphi that during the Lenaia Athenian women would have celebrated the sparagmos and rebirth of Dionysus with singing and dancing. In addition, Wyler’s Figure Login Nome utente Password Ricordami Password dimenticata? For her part, Giulia Sfameni Gasparro approaches the Orphic Hymns from the perspective of polyonomia and henotheism. Finally, Anton Bierl addresses the Dionysus of Old Comedy, both of which he sees as embodying the carnivalesque and involving the interpenetration of Dionysian festivals with comedy.
He notes that the identification of Dionysus with Epaphos is perplexing, but can be resolved when one dispenses with doctrinal conceptions in favor of parallels in ritual: Debiasi, however, makes a detailed case for attributing the fragment instead to Eumelos of Corinth. Except for a preliminary article by Jan Bremmer on Walter Otto and a concluding evaluative summation by Albert Dimentlcate, the rest of the articles follow a basically chronological format, ranging from the Mycenaeans to the Romans and Late Antiquity, and finishing with Dionysian iconography.
Caballero argues persuasively that historical maenads modeled themselves on mythical maenads, particularly those represented in Euripides’ Bacchae. She attributes it to his reluctance to pronounce the god’s name in a funerary context, and to the similarities he perceived between Osiris’ rites and Greek mysteries.
Andrea Debiasi examines the Actaeon myth as it is represented a papyrus fragment from Oxyrhynchus P. Here, under the influence of late antique syncretism, Dionysus leaves off much of his pagan character and takes on characteristics of Christ, becoming a deity who shows compassion and pity for the sufferings of humans, and dedicates himself to allaying dimenticatee sufferings.
She argues that images of tigers predominate over those of lions and panthers because of that cat’s exoticism, while the female sex of the cats predominates both because it is grammatical — tigris and pardos are feminine — and metaphorical in that the cats are associated with the maenads. This fragment seems to associate Actaeon’s crime with an attempt to woo Semele, and it has been repeatedly conjectured that this fragment might have belonged to Hesiod’s Catalogue of Women.
While he hesitates to subscribe to all of Otto’s arguments, he acknowledges that Otto’s work was prescient, and that “his ideas on myth and ritual as well as his conceptualisation of Dionysus were really adventurous in the early s” One exception is in Wyler’s essay, where there seems to be a clause missing on page Marisa Tortorelli Ghidini addresses an “imbalance” in the relation between Orphism and Dionysiac mystery religion.
Nina Schwartz starts parolle a consideration of the ” xenos attributes” in the play. He demonstrates that, far from “having nothing to do with Dionysus,” Old Comedy has a great deal to do with him.
Mythos und Kultus After an analysis of the dithyramb’s genre and a discussion of examples drawn parple Pindar and Bacchylides, he suggests that it is the poem’s discourse and its modes that ultimately distinguish the dithyramb from other types of poetry such as the paean.
Scholars interested in matters Dionysiac have considerable cause to be grateful to de Gruyter. Like other scholars, he regards Plato’s references to the “titanic nature of humans” as of central importance to his theology.
He argues against the supposition that the followers of Dionysus had taken on the name Bacchos to identify with the deity, concluding instead that the converse is the case: His caution is salutary, but while it is true that many facets of the Dionysus figure remain undefined, these essays go some considerable distance in further defining this most elusive of gods.
Christopher Faraone argues that the mythic account of the attack on Dionysus and his nurses furnishes the etiology for initiation into the Dionysiac mysteries in Thrace and Thessaly, with Dionysus serving as the model for male initiates and his nurses for females. Since there is also no comprehensive bibliography, it is difficult to know if and when a scholar’s work has been cited. pese
Dionysian iconography is also well served in this volume. Even if the book’s direct references to the god are minimal, Dionysus is still viewed as a major contender with Yahweh, and the two are cast as rivals, each of whom can offer salvation and deliverance to his followers.
She concludes that this image is a result of the domestication of Dionysus, where he comes to be represented as if he were a human symposiast.
Bremmer’s article offers a timely re-evaluation of Otto’s MeisterwerkDionysos. Ultimi articoli Sette tesi di Storia del Cristianesimo Esegesi dei vangeli? Bacchos, by contrast, refers to the destructive side of gws god, while Dionysus is the neutral name of the deity. Dionysos and Ancient Polytheism No sooner had they put out the fine collection of essays edited by Renate Schlesier, A Different God?
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She observes that the Orphic Dionysus is “agglutinative,” in that he takes on the qualities or identities of other figures in the divine pantheon.
Mauro Pesce Official Website. As for the book’s production, there are more than a few solecisms in spelling and grammar — not unexpectedly in a volume where few of the contributors write in their native language — but they rarely affect meanings. If the volume inevitably stops short of a detailed picture, it nevertheless does much to limn the god’s familiar — and unfamiliar — features.
Albert Henrichs closes the volume by asking, “Dionysus: She determines that despite the absence of an explicit focus on Dionysus, the plays nevertheless reveal a rich variety of the god’s mythic and cultic aspects. Not surprisingly, a significant portion of the volume is given over to Dionysus’ associations with drama. Though the two display considerable overlap, some texts, such as Aeschylus’ Bassaridesdocument a clash between Dionysus and Orpheus.