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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Bremmer’s article offers a timely re-evaluation of Otto’s MeisterwerkDionysos. Nina Schwartz starts with a consideration of the ” xenos attributes” in the play.
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Claude Calame investigates the dithyramb and its relation to Dionysus. Carmen Encinas Reguero analyses the different nuances underlying the names of Dionysus in the Bacchae. Bromios relates to the god’s positive side, including his birth and epiphany. 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. Christopher Faraone argues that the mythic account of the attack on Dionysus pedce his nurses furnishes the prsce for initiation into the Dionysiac mysteries in Thrace and Thessaly, with Dionysus serving as the model for male initiates and his nurses for females.
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.
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. Herodotus is the focus of two of the essays.
Bacchos, by contrast, refers to the destructive side of the god, while Dionysus is the neutral name of the deity. 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” The image they present is that of a majestic deity worthy of Olympos.
Mythos und Kultus 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 pezce maenads.
This revelation achieves its climax in the death of Pentheus and in Dionysus’ appearance as the deus ex machina.
Though the evidence is fragmentary, she surmises on the analogy of the Thyiads’ celebration in Delphi that during the Dimenticaye Athenian women would have celebrated the sparagmos and rebirth of Dionysus with singing and dancing. Mauro Pesce Official Website.
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. 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. Osiris, and in particular why Herodotus is so reticent to speak of the death of Osiris.
This process naturally raises the question of the extent to which Dionysus constitutes one god or one god among many. For her part, Giulia Sfameni Gasparro approaches the Orphic Hymns from the perspective of polyonomia and henotheism. Apart from that omission, the book itself is beautifully produced, with high-quality plates and sturdy binding.
Ultimi articoli Sette tesi di Storia del Cristianesimo Esegesi dei vangeli? If the volume inevitably stops short of a detailed picture, it nevertheless does much to limn the god’s familiar — and unfamiliar — features. 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. Albert Henrichs closes the volume by asking, “Dionysus: 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.
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. Debiasi, however, makes a detailed case for attributing the fragment instead to Eumelos of Corinth.
Here, under the influence of late antique syncretism, Dionysus leaves off much of gws 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.
Andrea Debiasi examines the Actaeon myth as it is represented a papyrus fragment from Oxyrhynchus P. Marisa Tortorelli Ghidini addresses an “imbalance” in the relation between Orphism and Dionysiac pe religion.
Dionysian iconography is also well served in this volume. Pewce 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: 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.
No sooner had they put out the fine collection of essays edited by Renate Schlesier, A Different God?