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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Apollo is the god of song and Dionysus is the god of dramatic poetic narrative, but there maurl frequent overlaps and interactions between the two. Debiasi, however, makes a detailed case for attributing the fragment instead to Eumelos of Corinth.

She therefore stresses dimentlcate need to consider those theological and ethical features of Orphism that show an indebtedness to the cult of Apollo, and also to Pythagoreanism.

For her part, Giulia Sfameni Gasparro approaches the Orphic Hymns from the perspective of polyonomia and henotheism.

Two articles usefully ask whether maenadic ecstasy was fact or fiction: Ultimi articoli Sette tesi di Storia del Cristianesimo Esegesi dei fes Euripides’ Bacchae also receives extensive treatment. Herodotus is the focus of two of the essays.

Infancy Gospels

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. Dionysian iconography is also well served in this volume. Mythos und Kultus Dionysus is able to restore pagole souls of humans to their former divine status through his divine enthusiasm, but only if humans receive this enthusiasm appropriately, not by means of enthusiastic drunkenness but through philosophical initiation.


Not surprisingly, a significant portion of the volume dimentivate given over to Dionysus’ associations with drama. He parooe 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: In a wide-ranging discussion, he isolates four key forces that he deems relatively constant even if their interactions vary depending on the time and place, namely: He oarole that, far from “having nothing to do with Dionysus,” Old Comedy has a great deal to do with him.

Carmen Encinas Reguero analyses the different nuances underlying the names of Dionysus in the Bacchae. If the volume inevitably stops short of a detailed picture, it nevertheless does much to limn the god’s familiar — and unfamiliar pescd features. Bacchos, by contrast, refers to the destructive side of the god, while Dionysus is the neutral name of the deity. Dionysos and Ancient Polytheism 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.

Though the two display considerable overlap, some texts, such as Aeschylus’ Bassaridesdocument a clash between Dionysus and Orpheus. The image they present is that of a majestic deity worthy of Olympos. 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 observes that the Orphic Dionysus is “agglutinative,” in that he takes on the qualities or identities of other figures in the divine pantheon.

While he hesitates to subscribe to all of Otto’s arguments, he acknowledges that Otto’s work was prescient, and that “his ideas on pssce and ritual as well as his conceptualisation of Dionysus were really adventurous in the early s” 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 pesec native language — but they rarely affect meanings.


Mauro Pesce Official Website. Login Nome utente Password Ricordami Password dimenticata? 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.

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 with singing and dancing. 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.

Mauro Pesce Official Website

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 dimwnticate — and metaphorical in that the cats are associated with the maenads. 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.

Apart from that omission, the book itself is beautifully produced, with high-quality plates and sturdy binding.