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A book with specific insight into the mysteries of this ancient myth, both its psychological ramifications and, modern day recurrence . . . Retail Paperback
In this anthology, outstanding authorities present their assessments of literary madness in a variety of topics and approaches. The entire collection of essays presents intriguing aspects of the Dionysian element in literature.
While most work on Dionysus is based on Greek sources, this collection of essays examines the god’s Roman and Italian manifestations. Nine contributions address Bacchus’ appearance at the crossroads of Greek and Roman cultures, tracing continuities and differences between literary and archaeological sources for the god. The essays offer coverage of Dionysus in Roman art, Italian epigraphy; Latin poetry including epic, drama and elegy; and prose, including historiography, rhetorical and Christian discourse. The introduction offers an overview of the presence of Dionysus in Italy from the archaic to the imperial periods, identifying the main scholarly trends, with treatment of key Dionysian episodes in Roman history and literature. Individual chapters address the reception of Euripides’ Bacchae across Greek and Roman literature from Athens to Byzantium; Dionysus in Roman art of the archaic and Augustan periods; the god’s relationship with Fufluns and Liber in the 4th and 3rd centuries BCE; Dionysian associations; Bacchus in Cicero; Ovid’s Tristia 5.3; Bacchus in the writings of Christian Latin writers. The collection sheds light on a relatively understudied aspect of Dionysus, and will stimulate further research in this area.
For some time I have been preparing a general work on primitive superstition and religion. Among the problems which had attracted my attention was the hitherto unexplained rule of the Arician priesthood; and last spring it happened that in the course of my reading I came across some facts which, combined with others I had noted before, suggested an explanation of the rule in question. As the explanation, if correct, promised to throw light on some obscure features of primitive religion, I resolved to develop it fully, and, detaching it from my general work, to issue it as a separate study. This book is the result. Now that the theory, which necessarily presented itself to me at first in outline, has been worked out in detail, I cannot but feel that in some places I may have pushed it too far. If this should prove to have been the case, I will readily acknowledge and retract my error as soon as it is brought home to me. Meantime my essay may serve its purpose as a first attempt to solve a difficult problem, and to bring a variety of scattered facts into some sort of order and system. A justification is perhaps needed of the length at which I have dwelt upon the popular festivals observed by European peasants in spring, at midsummer, and at harvest. It can hardly be too often repeated, since it is not yet generally recognised, that in spite of their fragmentary character the popular superstitions and customs of the peasantry are by far the fullest and most trustworthy evidence we possess as to the primitive religion of the Aryans. Indeed the primitive Aryan, in all that regards his mental fibre and texture, is not extinct. He is amongst us to this day. The great intellectual and moral forces which have revolutionised the educated world have scarcely affected the peasant. In his inmost beliefs he is what his forefathers were in the days when forest trees still grew and squirrels played on the ground where Rome and London now stand.
Divine Epiphany in Greek Literature and Culture is the first comprehensive survey of the history of divine epiphany as presented in the literary and epigraphic narratives of the Greek-speaking world.
This book sets out to interpret Euripides' The Trojan Women in the light of a view of tragedy which sees its function, as it was understood in classical Athens, as being didactic. This function, the author argues, was carried out by an examination of the ideology to which the audience subscribed. The Trojan Women, powerfully exploiting the dramatic context of the aftermath of the Trojan War, is a remarkable example of tragic teaching. The play questions a series of mutually reinforcing polarities (man/god; man/woman; Greek/barbarian; free/slave) through which an Athenian citizen defined himself, and also examines the dangers of rhetoric and the value of victory in war. By making the didactic function of tragedy the basis of interpretation, the author is able to offer a coherent view of a number of long-standing problems in Euripidean and tragic criticism, namely the relation of Euripides to the sophists, the pervasive self-reference and anachronism in Euripides, the problem of contemporary reference, and the construction and importance of the tragic scene. The book, which makes use of recent scholarship both in Classics and in critical theory, should be read by all those interested in Greek tragedy and in the culture of late fifth-century Athens.
An examination of how screen texts embrace, refute, and reinvent the cultural heritage of antiquity, this volume looks at specific story-patterns and archetypes from Greco-Roman culture. The contributors offer a variety of perspectives, highlighting key cultural relay points at which a myth is received and reformulated for a particular audience.