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No other god of the Greeks is as widely present in the monuments and nature of Greece and Italy, in the sensuous tradition of antiquity, as Dionysos. In myth and image, in visionary experience and ritual representation, the Greeks possessed a complete expression of indestructible life, the essence of Dionysos. In this work, the noted mythologist and historian of religion Carl Kerényi presents a historical account of the religion of Dionysos from its beginnings in the Minoan culture down to its transition to a cosmic and cosmopolitan religion of late antiquity under the Roman Empire. From the wealth of Greek literary, epigraphic, and monumental traditions, Kerényi constructs a picture of Dionysian worship, always underlining the constitutive element of myth. Included in this study are the secret cult scenes of the women's mysteries both within and beyond Attica, the mystic sacrificial rite at Delphi, and the great public Dionysian festivals at Athens. The way in which the Athenian people received and assimilated tragedy in its immanent connection with Dionysos is seen as the greatest miracle in all cultural history. Tragedy and New Comedy are seen as high spiritual forms of the Dionysian religion, and the Dionysian element itself is seen as a chapter in the religious history of Europe.
Covering a wide range of issues which have been overlooked in the past, including mystery, cult and philosophy, Richard Seaford explores Dionysos – one of the most studied figures of the ancient Greek gods. Popularly known as the god of wine and frenzied abandon, and an influential figure for theatre where drama originated as part of the cult of Dionysos, Seaford goes beyond the mundane and usual to explore the history and influence of this god as never before. As a volume in the popular Gods and Heroes series, this is an indispensible introduction to the subject, and an excellent reference point for higher-level study.
In the final volume of the New York Times–bestselling Olympians graphic novel series, author/artist George O’Connor focuses on Dionysos, the god of wine and madness. The Olympians saga draws to a close with the tale of Dionysos, the last Olympian, and maybe, just maybe, the first of a new type of God. His story is told by the first Olympian herself, Hestia, Goddess of the hearth and home. From her seat in the center of Mt. Olympus, Hestia relates the rise of Dionysos, from his birth to a mortal mother, to his discovery of wine, his battles with madness and his conquering of death itself, culminating, finally, in his ascent to Olympus and Godhood.
This book contributes to the understanding of Dionysos, the Greek god of wine, dancing, theatre and ecstasy, by putting together 30 studies of classical scholars. They combine the analysis of specific instances of particular dimensions of the god in cult, myth, literature and iconography, with general visions of Dionysos in antiquity and modern times. Only from the combination of different perspectives can we grasp the complex personality of Dionysos, and the forms of his presence in different cults, literary genres, and artistic forms, from Mycenaean times to late antiquity. The ways in which Dionysos was experienced may vary in each author, each cult, and each genre in which this god is involved. Therefore, instead of offering a new all-encompassing theory that would immediately become partial, the book narrows the focus on specific aspects of the god. Redefinition does not mean finding (again) the essence of the god, but obtaining a more nuanced knowledge of the ways he was experienced and conceived in antiquity.
Dionysos, with his following of satyrs and women, was a major theme in a big part of the figure painted pottery in 500-300 B.C. Athens. As an original testimonial of their time, the imagery on these vases convey what this god meant to his worshippers. It becomes clear that he was not only appropriate for wine, wine indulgence, ecstasy and theatre. Rather, he was presenton many, both happy and sad, occasions. The vase painters have emphasized different aspects of Dionysos for their customers inside and outside of Athens, depending on the political and cultural situation.
'The more we learn about the original production of tragedies and comedies in Athens the more it seems wrong even to call them plays in the modern sense of the word, ' write the editors in this collection of critically diverse innovative essays aimed at restoring the social context of ancient Greek drama.
An interpretation of the god Dionysos as seen by Greek vase painters before the golden age of classical culture, which will help understand his wide popularity beyond wine consumption, which lasted until the end of antiquity.
Within modern frameworks of knowledge and representation, Dionysos often appears to be atypical for ancient culture, an exception within the context of ancient polytheism, or even an instance of a difference that anticipates modernism. How can recent research contribute to a more precise understanding of the diverse transformations of the ancient god, from Greek antiquity to the Roman Empire? In this volume, which is the result of an international conference held in March 2009 at the Pergamon Museum Berlin, scholars from all branches of classical studies, including history of scholarship, consider this question. Consequently, this leads to a new look on vase paintings, sanctuaries, rituals and religious-political institutions like theatre, and includes new readings of the texts of ancient poets, historians and philosophers, as well as of papyri and inscriptions. It is the diversity of sources or methods and the challenge of former views that is the strength of this volume, providing a comprehensive, innovative and richly faceted account of the “different” god in an unprecedented way.
Covering a wide range of issues which have been overlooked in the past, including mystery, cult and philosophy, Richard Seaford explores Dionysos – one of the most studied figures of the ancient Greek gods. Popularly known as the god of wine and frenzied abandon, and an influential figure for theatre where drama originated as part of the cult of Dionysos, Seaford goes beyond the mundane and usual to explore the history and influence of this god as never before. As a volume in the popular Gods and Heroes series, this is an indispensible introduction to the subject, and an excellent reference point for higher-level study.
Built on the southwestern coast of Cyprus in the second century A.D., the House of Dionysos is full of clues to a distant life—in the corner of a portico, shards of pottery, a clutch of Roman coins found on a skeleton under a fallen wall—yet none is so evocative as the intricate mosaic floors that lead the eye from room to room, inscribing in their colored images the traditions, aspirations, and relations of another world. In this lavishly illustrated volume, Christine Kondoleon conducts us through the House of Dionysos, showing us what its interior decoration discloses about its inhabitants and their time. Seen from within the context of the house, the mosaics become eloquent witnesses to an elusive dialogue between inhabitants and guests, and to the intermingling of public and private. Kondoleon draws on the insights of art history and archaeology to show what the mosaics in the House of Dionysos can tell us about these complex relations. She explores the issues of period and regional styles, workshop traditions, the conditions of patronage, and the forces behind iconographic change. Her work marks a major advance, not just in the study of Roman mosaics, but in our knowledge of Roman society.