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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.
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.
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.
‘Our greatest blessings come to us by way of mania, provided it is given us by divine gift,’ – says Socrates in Plato’s Phaedrus. Certain forms of alteration of consciousness, considered to be inspired by supernatural forces, were actively sought in ancient Greece. Divine mania comprises a fascinating array of diverse experiences: numerous initiates underwent some kind of alteration of consciousness during mystery rites; sacred officials and inquirers attained revelations in major oracular centres; possession states were actively sought; finally, some thinkers, such as Pythagoras and Socrates, probably practiced manipulation of consciousness. These experiences, which could be voluntary or involuntary, intense or mild, were interpreted as an invasive divine power within one’s mind, or illumination granted by a super-human being. Greece was unique in its attitude to alteration of consciousness. From the perspective of individual and public freedom, the prominent position of the divine mania in Greek society reflects its acceptance of the inborn human proclivity to experience alteration of consciousness, interpreted in positive terms as god-sent. These mental states were treated with cautious respect, and in contrast to the majority of complex societies, ancient and modern, were never suppressed or pushed to the cultural and social periphery.
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.
This book traces the image of the pregnant male as it evolves in classical Greek literature. Originating as a representation of paternity and, by extension, "authorship" of creative works, the image later comes to function also as a means to explore the boundary between the sexes.
This volume presents an essential but underestimated role that Dionysus played in Greek and Roman political thought. Written by an interdisciplinary team of scholars, the volume covers the period from archaic Greece to the late Roman Empire. The reader can observe how ideas and political themes rooted in Greek classical thought were continued, adapted and developed over the course of history. The authors (including four leading experts in the field: Cornelia Isler-Kerényi, Jean-Marie Pailler, Richard Seaford andRichard Stoneman) reconstruct the political significance of Dionysus by examining different types of evidence: historiography, poetry, coins, epigraphy, art and philosophy. They discuss the place of the god in Greek city-state politics, explore the long tradition of imitating Dionysus that ancient leaders, from Alexander the Great to the Roman emperors, manifested in various ways, and shows how the political role of Dionysus was reflected in Orphism and Neoplatonist philosophy. Dionysus and Politics provides an excellent introduction to a fundamental feature of ancient political thought which until now has been largely neglected by mainstream academia. The book will be an invaluable resource to students and scholars interested in ancient politics and religion.
A fully illustrated study of the iconography of komast dancers ('revellers') in Archaic Greece. These figures appear in black-figure vase-painting and in other artistic media, and have long been associated with the worship of Dionysos, god of wine and drama, and the origins of Greek theatre.
This volume assembles fourteen highly influential articles written by Michael H. Jameson over a period of nearly fifty years, edited and updated by the author himself. They represent both the scope and the signature style of Jameson's engagement with the subject of ancient Greek religion. The collection complements the original publications in two ways: firstly, it makes the articles more accessible; and secondly, the volume offers readers a unique opportunity to observe that over almost five decades of scholarship Jameson developed a distinctive method, a signature style, a particular perspective, a way of looking that could perhaps be fittingly called a 'Jamesonian approach' to the study of Greek religion. This approach, recognizable in each article individually, becomes unmistakable through the concentration of papers collected here. The particulars of the Jamesonian approach are insightfully discussed in the five introductory essays written for this volume by leading world authorities on polis religion.
Presents a landmark study combining key specialists around the region with well-established international scholars, from a wide range of disciplines.