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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Mauro Pesce Official Website. Carmen Encinas Reguero analyses the different nuances underlying the names of Dionysus in the Bacchae. While Pausanias suggests that the associations of Dionysus with the region were a relatively recent innovation, Stratiki argues instead that these myths and cults were in fact foundational for Patras. As for the book’s production, there are more than a few solecisms in spelling and grammar — not unexpectedly in a dimentocate where few of the contributors write in their native language — but they rarely affect meanings.

Infancy Gospels

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 pescd case: The plunge into the sea did not simply signify the normal gea of passage to adulthood, but the more fundamental transition from mortality to immortality.

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: Despite the frieze’s poor state of preservation, she concludes that the Dionysiac motifs there and oesce are not explicitly religious but contribute to dimenticaate solemn ambience characteristic of the Augustan agenda. Caballero argues persuasively that historical maenads modeled themselves on mythical maenads, particularly those represented in Euripides’ Bacchae.

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. 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.


He demonstrates that, far from “having nothing to do with Dionysus,” Old Comedy has a great deal to do with him. This revelation achieves its climax in the death of Pentheus and in Dionysus’ appearance as the deus ex machina.

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

Mauro Pesce Official Website

Scholars interested in matters Dionysiac have considerable cause to be grateful to de Gruyter. Finally, Anton Bierl addresses the Dionysus of Old Comedy, both of which he sees as embodying the carnivalesque and involving peece interpenetration of Dionysian festivals with comedy. One exception is in Wyler’s essay, where there seems to be a clause missing on page 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: Mythos und Kultus Though the two display considerable overlap, some texts, such as Aeschylus’ Bassaridesdocument a clash between Dionysus and Orpheus.

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 gea and rebirth of Dionysus with singing and dancing.

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Claude Calame investigates the dithyramb and its relation to Dionysus. If the volume inevitably stops short of a detailed picture, it nevertheless does much to limn the god’s familiar — and unfamiliar — features. Euripides’ Bacchae also receives extensive treatment.

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 dk as the model for male initiates and his nurses for females. 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.


Debiasi, however, makes a detailed case for attributing the fragment instead to Eumelos of Corinth.

Two articles usefully ask whether maenadic ecstasy was fact or fiction: Since there is also no comprehensive bibliography, it is difficult to know if and when a scholar’s work has been cited. 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.

For her part, Giulia Sfameni Gasparro approaches the Orphic Hymns from the perspective of polyonomia and henotheism. Bacchos, by contrast, refers to the destructive side of the god, while Dionysus is the dimennticate 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” In addition, Wyler’s Figure Herodotus is the focus of two of the essays.

Not surprisingly, a dimentixate portion of the volume is given over to Dionysus’ associations with drama.

pecse No sooner had they put out the fine collection of essays edited by Renate Schlesier, A Different God? 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.

This process naturally raises the question of the extent to which Dionysus constitutes one god or one god among many.