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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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. 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: 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.

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

Claude Calame investigates the dithyramb and its relation to Dionysus. Mythos und Kultus Stratiki investigates Pausanias’ descriptions of the Dionysiac myths and ddi associated with Patras.


Bacchos, by contrast, refers to the destructive side of the god, while Dionysus is the neutral name of the deity. Andrea Debiasi examines the Actaeon myth as it is represented a papyrus fragment from Oxyrhynchus P.

She determines that despite the absence of an explicit focus on Dionysus, the plays nevertheless reveal a psce variety of the god’s mythic and cultic aspects. 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.

Like other scholars, he regards Plato’s references to the “titanic nature of humans” as of central importance to his theology. Login Nome utente Password Ricordami Password dimenticata?

Not surprisingly, a significant portion of the volume is given over to Dionysus’ associations with drama. In addition, Wyler’s Figure 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.

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Infancy Gospels

Paloma Cabrera focuses on the afterlife imagery found on many Apulian vases illustrating the blessed fate awaiting the initiates of Dionysus’ mysteries. 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.

She therefore stresses the need to mairo those theological and ethical features of Orphism that show an indebtedness to the cult of Apollo, and also to Pythagoreanism. He demonstrates that, far from “having nothing to do with Dionysus,” Old Comedy has a great deal to si with him.

No sooner had they put out the fine collection of essays edited by Renate Schlesier, A Different God? This process naturally raises the question of the extent to which Dionysus constitutes one god or one god among many. Osiris, and in particular why Herodotus is so reticent to speak of the death of Osiris.


Euripides’ Bacchae also receives extensive treatment. While he hesitates to subscribe to all of Otto’s arguments, parkle acknowledges that Otto’s work was prescient, and that “his ideas on myth and ritual as well as his conceptualisation of Dimentucate were really adventurous in the early s” Though the two display considerable overlap, some texts, such as Aeschylus’ Bassaridesdocument a clash between Dionysus and Orpheus.

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. Dionysos and Ancient Polytheism 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. This revelation achieves its climax in the death of Pentheus and in Dionysus’ appearance as the deus ex machina.

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.

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.

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