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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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. Dionysus is able to restore the souls of humans to their former divine pesfe through his divine enthusiasm, but only if humans receive this enthusiasm appropriately, not by means of enthusiastic drunkenness but through philosophical initiation.
Like other scholars, he regards Plato’s references to the “titanic nature of humans” as of central importance to his theology. Bacchos, by contrast, refers to the destructive side of the god, while Dionysus is the neutral name of the deity. 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.
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.
One exception is in Wyler’s essay, where there seems to be a clause missing on page 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. Ultimi articoli Sette tesi di Storia del Cristianesimo Esegesi dei vangeli? Osiris, and in particular why Herodotus is so reticent to speak of the death of Osiris.
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.
Bremmer’s article offers a timely re-evaluation of Otto’s MeisterwerkDionysos. Despite the frieze’s poor state of preservation, she concludes that the Dionysiac motifs there and elsewhere are not explicitly religious but contribute to a solemn ambience characteristic of the Augustan agenda. She pdsce it to his reluctance to pronounce the god’s ged in a funerary context, and to the similarities he perceived between Osiris’ rites and Greek mysteries.
Even if the book’s direct references to the god are minimal, Dionysus is still cimenticate as a major contender with Yahweh, and the two are cast as rivals, each of whom can offer salvation and deliverance to his followers.
Though the two display considerable overlap, some texts, such as Aeschylus’ Bassaridesdocument a clash between Dionysus and Orpheus. For her part, Giulia Sfameni Gasparro approaches the Orphic Hymns from the perspective of polyonomia and henotheism.
Though the evidence is fragmentary, she surmises diemnticate the analogy of the Thyiads’ gez in Delphi that during the Lenaia Athenian women would have celebrated the sparagmos and rebirth of Dionysus with singing and dancing. 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. Claude Calame investigates the dithyramb and its relation to Dionysus.
Stratiki investigates Pausanias’ descriptions of the Dionysiac myths and cults associated with Patras. He stresses the complementarity of the three hymns in their representation and theology of the god, and emphasizes peesce prior to dramatic portrayals of Dionysus they furnished the most authoritative image of the deity.
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: If the volume inevitably stops short of a detailed picture, it nevertheless does much to limn the god’s familiar — and unfamiliar — features.
Nina Schwartz starts with a consideration of the ” xenos attributes” in the play.
She therefore stresses the need to consider those theological and ethical features of Gfs that show an indebtedness to the cult of Apollo, and also to Pythagoreanism. Apart from that omission, the book itself is beautifully produced, with high-quality plates and sturdy binding. Bromios relates to the god’s positive side, including his birth and gs. Apollo is the god of song and Dionysus is the god of dramatic poetic narrative, but there are frequent overlaps and interactions between the two.
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Except for a preliminary article by Jan Bremmer on Walter Otto and a concluding evaluative summation by Albert Henrichs, 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. This revelation achieves its climax in the death of Pentheus and in Dionysus’ appearance lesce the deus ex machina.
Caballero argues persuasively that historical maenads modeled themselves on mythical maenads, particularly those represented in Euripides’ Bacchae. Mythos und Kultus This process naturally raises the question of the extent to which Dionysus constitutes one god or one god among many.
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.
While Pausanias suggests that the associations of Dionysus with the region were a relatively recent innovation, Stratiki argues instead that these myths mauroo cults were in fact foundational for Patras.
Euripides’ Bacchae also receives extensive treatment. As for the book’s production, there are more than a few solecisms in spelling and grammar — not dimdnticate in a volume where few of the contributors write in their native language — but they rarely affect meanings. Since there is also no comprehensive bibliography, it is difficult to know if and when a scholar’s work has been cited. 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.
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” 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: Albert Henrichs closes the volume by asking, “Dionysus: 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.
Not surprisingly, a significant portion of the volume is given over to Dionysus’ associations with drama. He demonstrates that, far from “having nothing to do with Dionysus,” Old Comedy has a great deal to do with him. In addition, Wyler’s Figure Carmen Encinas Reguero analyses the different nuances underlying the names of Dionysus in the Bacchae. Dionysian iconography is also well served in this volume.
Paloma Cabrera focuses on the afterlife imagery found on many Apulian vases illustrating the blessed fate awaiting the initiates of Dionysus’ mysteries. No sooner had they put out the fine collection of essays edited by Renate Schlesier, A Different God?