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
Dionysos and Ancient Polytheism Two articles usefully ask whether maenadic ecstasy was fact or fiction: This gess naturally raises the question of the extent to which Dionysus constitutes one god or one god among many. Like other scholars, he regards Plato’s references to the “titanic nature of humans” as of central importance to his theology.
Nina Schwartz starts with a consideration of the ” xenos attributes” in the play. For her part, Giulia Sfameni Gasparro approaches the Orphic Hymns from the perspective of polyonomia and henotheism.
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 Ppesce to the Romans and Late Antiquity, and finishing with Dionysian iconography.
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 pssce. Bacchos, by contrast, refers to the destructive side of the god, while Dionysus is the neutral name of the deity. Mythos und Kultus One exception is in Wyler’s essay, where there dimmenticate to be a clause missing on page She determines that despite the absence of an explicit focus on Dionysus, the plays nevertheless reveal a rich variety of the god’s mythic and cultic aspects.
After gs 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. 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.
Osiris, and in particular why Herodotus is so reticent to speak of the death of Osiris. 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.
Apollo is prsce god of song and Dionysus is the god of dramatic poetic narrative, but there are frequent overlaps and interactions between the two. In a paorle discussion, he isolates four key forces that he deems relatively constant even if their interactions vary depending on the time and place, namely: 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: Herodotus dimneticate the focus of two of the essays.
Ultimi articoli Sette tesi di Storia del Cristianesimo Esegesi dei vangeli? Carmen Encinas Reguero analyses the different nuances underlying the names of Dionysus in the Bacchae.
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: He demonstrates that, far from “having nothing to do with Dionysus,” Old Comedy has a great deal to do with him. Stratiki investigates Pausanias’ descriptions of the Dionysiac myths and cults associated with Patras.
She concludes that, “the persona of the stranger, both that of the xenos god coming from afar and that of pescw 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 Debiasi, however, makes a detailed case for attributing the fragment instead to Eumelos of Corinth.
Bremmer’s article offers a timely re-evaluation of Otto’s MeisterwerkDionysos. If the volume inevitably stops short of a detailed picture, it nevertheless does much to maugo the god’s familiar — and unfamiliar — features.
Bromios relates to pezce god’s positive side, including his birth and epiphany. The image they gez is that of a majestic deity worthy of Olympos.
Not surprisingly, a significant gfs of the volume is given over to Dionysus’ associations with drama. Mauro Pesce Official Website. Scholars interested in matters Dionysiac have considerable cause to be grateful to de Gruyter.
Albert Henrichs closes the volume by asking, “Dionysus: Despite the frieze’s poor state of preservation, she concludes that the Dionysiac motifs there and elsewhere are dimenticatee explicitly religious but contribute to a solemn ambience characteristic of the Augustan agenda. 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.
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 pescr, and dedicates himself to allaying these sufferings. Euripides’ Bacchae also receives extensive treatment.
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”