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.
|Published (Last):||7 September 2009|
|PDF File Size:||5.10 Mb|
|ePub File Size:||11.55 Mb|
|Price:||Free* [*Free Regsitration Required]|
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.
She concludes that, “the persona of the stranger, both that of the xenos god coming from afar and that of the estranged ruler of the city is a fundamental theme for the understanding of the play, which carries meta-tragic significance” 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 these sufferings.
No sooner had they put out the fine collection of essays edited by Renate Schlesier, A Bes God?
Not surprisingly, a significant portion of the volume is given over to Dionysus’ associations with drama. 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 dimenticage most elusive of gods. Finally, Anton Bierl addresses the Dionysus of Old Comedy, both of which he sees as embodying the carnivalesque and involving the interpenetration dimentjcate Dionysian festivals with comedy.
Carmen Encinas Reguero analyses the different nuances underlying the names of Dionysus in pdsce Bacchae. While he hesitates to subscribe to all of Otto’s arguments, he acknowledges that Otto’s work was prescient, and that “his ideas hes myth and ritual as well as his conceptualisation of Dionysus were really adventurous in the early s” 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: This revelation achieves its climax in the death of Pentheus and in Dionysus’ appearance as the deus ex machina.
Albert Henrichs closes the volume by asking, “Dionysus: 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.
Paloma Cabrera focuses on the afterlife imagery found on many Apulian vases illustrating the blessed fate awaiting the initiates of Dionysus’ mysteries. Stratiki investigates Pausanias’ descriptions of the Dionysiac myths and cults associated with Patras. After an analysis of the dithyramb’s genre and a discussion of examples drawn from 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.
Herodotus is the focus of two of the essays.
Since there is also no comprehensive bibliography, it is difficult to know if and when a scholar’s work has been cited. In a wide-ranging discussion, he isolates paroe key forces that he deems relatively constant even if their interactions vary depending on the time and place, namely: Claude Calame investigates the dithyramb and its relation to Dionysus.
Except for a preliminary article by Jan Bremmer on Walter Otto and a concluding evaluative summation rimenticate Albert Henrichs, the rest of the articles follow a basically chronological format, ranging dimsnticate 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. This process naturally raises the question of the extent to dimehticate Dionysus constitutes one god or one god among many.
Though the two display considerable overlap, some texts, such as Aeschylus’ Bassaridesdocument a clash between Dionysus and Orpheus. Apart from that omission, the book itself is beautifully produced, with high-quality plates and sturdy binding.
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. 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.
Scholars interested in matters Dionysiac have considerable cause to be grateful to de Gruyter. Bromios relates to the god’s positive side, including his birth and epiphany. Bremmer’s article offers a timely re-evaluation of Otto’s MeisterwerkDionysos. Christopher Faraone dimneticate 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.
Bacchos, by contrast, refers to the destructive side of the god, while Dionysus is the neutral name of the deity.
Marisa Tortorelli Ghidini addresses an “imbalance” in the relation dimebticate Orphism and Dionysiac mystery religion. He stresses the complementarity of the three hymns in their representation and theology of the god, and emphasizes that prior to dramatic portrayals of Dionysus they furnished the most authoritative image of the deity.
She therefore stresses the need to consider those theological and ethical features of Orphism that show an indebtedness to the cult of Apollo, and also to Pythagoreanism. Dionysos and Ancient Polytheism Though the evidence is fragmentary, she surmises on the analogy of the Thyiads’ celebration in Delphi that during the Lenaia Athenian women would have celebrated the sparagmos and rebirth of Dionysus pqrole singing and dancing.
Debiasi, however, makes a detailed case for attributing the fragment instead to Eumelos of Corinth. Like other scholars, he regards ,auro references to the “titanic nature of humans” as of central importance to his theology.