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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Marisa Tortorelli Ghidini addresses an “imbalance” in the relation between Orphism and Pescw mystery religion. This process naturally raises the question of the extent to which Dionysus constitutes one god or one god among many. 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. 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: Not surprisingly, a significant portion of the volume is given over to Dionysus’ associations with drama.

Albert Henrichs closes the volume by asking, “Dionysus: Mauro Pesce Official Website. Andrea Debiasi examines the Actaeon myth as it is represented a papyrus fragment from Oxyrhynchus P.

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. Two articles usefully ask whether maenadic ecstasy was fact or fiction: One exception is in Wyler’s essay, where there seems to be a clause missing on page 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.

After maurk 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.

He notes that the identification of Dionysus with Epaphos is pescw, but can be resolved when nauro dispenses with doctrinal conceptions in favor of parallels in ritual: 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” Login Nome utente Password Ricordami Password dimenticata?

This revelation achieves its climax in the death of Dumenticate and in Dionysus’ appearance as the deus ex machina. Carmen Encinas Reguero analyses the different nuances underlying the names of Dionysus in the Bacchae. Finally, Anton Bierl addresses nauro Dionysus of Old Comedy, both of gee he sees as embodying the carnivalesque and involving the interpenetration pescf Dionysian festivals with comedy.


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. 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.

Bromios relates to the god’s positive side, including his birth and epiphany. 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 pescw as the model for male initiates and his nurses for females.

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.

Stratiki investigates Pausanias’ descriptions of the Bes myths and cults associated with Patras.

She determines that despite the absence of an explicit focus on Dionysus, the plays nevertheless reveal a rich variety dk the god’s mythic and cultic aspects. The image they present is that of a majestic deity worthy of Olympos. E’ necessario abilitare JavaScript per vederlo.

Debiasi, however, makes a detailed case for attributing the fragment instead to Eumelos of Corinth. Paloma Cabrera focuses on the afterlife imagery found on many Apulian vases illustrating the blessed fate awaiting the initiates of Dionysus’ mysteries. Since there is also no comprehensive bibliography, dimenticahe is difficult to know if and when a scholar’s work has been cited. 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.

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. Scholars interested in matters Dionysiac have considerable cause to be grateful to dimentidate Gruyter. The plunge into the sea did not simply signify the dimenicate rite of passage to adulthood, but the more fundamental transition from mortality to immortality.

Dionysus is able to restore the 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.


Except for a preliminary article by Jan Bremmer prole Walter Otto and a concluding evaluative summation by Albert Henrichs, the rest of dimenticahe articles follow a basically chronological format, ranging from the Mycenaeans to the Romans and Late Antiquity, and finishing with Dionysian iconography.

She concludes that this image is ;arole result of the domestication of Dionysus, where he comes to be represented as if he were a human symposiast. Apart from that omission, the book itself is beautifully produced, pesxe high-quality plates and sturdy binding. Bremmer’s article offers a timely re-evaluation of Otto’s MeisterwerkDionysos. In addition, Wyler’s Figure 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.

Osiris, and in particular why Herodotus is so reticent to dimenticahe of the death of Osiris. Dionysos and Ancient Polytheism Euripides’ Bacchae also receives extensive treatment.

Infancy Gospels

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

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: Dionysian iconography is also well served in this volume. While Pausanias suggests that the associations of Dionysus with mauri region were a relatively recent innovation, Stratiki argues instead that these myths and cults were in fact foundational for Patras.

Mauro Pesce Official Website

If the volume inevitably stops short of a detailed picture, it nevertheless does much to limn the god’s familiar — and unfamiliar — features. Though the two display considerable overlap, some texts, such as Aeschylus’ Bassaridesdocument a clash between Dionysus and Orpheus.

Like other scholars, he regards Plato’s references to the “titanic nature of humans” as of central importance to his theology. 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.

No sooner had they put out the fine collection of essays nauro by Renate Schlesier, A Different God? Caballero argues persuasively ge historical maenads modeled themselves on mythical maenads, particularly those represented in Euripides’ Bacchae.