![]() The first part argues suggestively for the Cretan-Minoan origins of Dionysus. London: Routledge and Kegan Paul.Ī profoundly erudite history of Dionysus as god of life ( zoe as distinct from bios), with Jungian inflections, as suggested by the subtitle. Translated from the German by Ralph Mannheim. Dionysos: Archetypal image of indestructible life. Visionary, groundbreaking and influential, and still worth consulting. ![]() Sections include: Dionysus on Greek pottery (unillustrated) god of vegetation and the vine Athenian cult Dionysus in myth and literature, with emphasis on Euripides’ Bacchae orgiastic religion divine mania maenadism dithyramb the thiasos and the origin of tragedy Dionysus in Hellenistic and Greco-Roman worlds. History of Bacchic cult from the archaic age (published before decipherment of Dionysus’ name on Linear B tablets) to the Christian Roman empire. New introduction on intellectual context. Argues for Dionysus as symbol of suffering and resurrection, associating his travails with those of other Greek heroes tragedy as art form that purifies heroic suffering. Before the decipherment of Linear B, Ivanov argued that the earliest Achaeans worshipped a synthetic early version of Dionysus with orgiastic cult (chap. German translation of the Russian poet, scholar, and translator’s 1923 Dionis i pradionisijstovo. Chapters: Dionysus the traveller Dionysus the nourisher the lover of the queen the kingdom of the earth the wheel and the irreversible Dionysus the just. Paris: Arthauld.Ī general study of Dionysian myth and ritual, inflected with structural anthropology. Greek with facing-Spanish translations) corpus of visual evidence (38 pp.). Chapters on Mycenaean Greek documents archaic Greek archaeology and epigraphy archaic Greek poetry, philosophy, and mythography interpretative essays on synoptic questions about the nature and interpretation of Dionysus, and Dionysus as compared with Near Eastern gods corpus of textual evidence for Dionysus (111 pp. Multiauthored, comprehensive evidence-based discussion of Dionysus in archaic Greece, covering subjects not always well treated elsewhere. Madrid: Liceus, Servicios de Gestión y Comunicación. Textos e imágenes de Dioniso y lo dionisíaco en la Grecia antigua. 2013 is ample, source-based, detailed and wide ranging.īernabé, Alberto, Ana Isabel Jiménez San Cristóbal, and Marco Antonio Santamaria, eds. Otto 1965 is a classic study of Dionysian myth and ritual with Nietzschean inflections. Seaford 2006 is a concise synoptic introduction. ![]() Because Dionysus defies boundaries and categorization, many topics are referred to in more than one section of this bibliography for example, for maenadism see Dionysus and Tragedy, Forms of Dionysian Ritual, and Dionysus in Ancient Art, as well as the General Studies and Collections of Essays. Of the rich critical literature on Dionysus the best work is interdisciplinary, combining philological and archaeological methods with an awareness of how the god is being understood and, to some extent, reconstructed. A number of more or less recent studies have analyzed the history of the god’s interpretation. Scholars have discussed and interpreted Dionysus in countless ways, using many different theoretical approaches including Religionsgeschichte, Jungian psychology, and anthropology. Since the time of the later Roman Empire, Dionysus has continued to enjoy a rich and varied afterlife (perhaps we should rather say evolution) from Christian discourse through medieval allegory, Renaissance painting, and German philosophy to modern art and aesthetics. There were many local variations, and Dionysus was often identified with or influenced aspects of local deities such as Osiris, Fufluns, or Liber. Nonetheless, the god cannot be reduced to this or any single version, and still less to an unchanging essence. The version which took shape in Athens during the Archaic and Classical periods continues to dominate our picture of Dionysus, god of wine, fertility and nature, theater, and ritual madness. Dionysus has been abundantly attested in myth, art, literature, and cult from the archaic age onward. Nowadays most scholars consider the motif of the god’s arrival a structural feature of the god’s myth rather than a historical reminiscence: he is “the god who comes” (Hölderlin, “Brod und Wein”), the epiphanic “étrange étranger” (Detienne, Dionysus at Large), both native and outsider. The appearance of his name on Linear B tablets from Crete and Pylos proved his great antiquity. For long it was believed that he was a late addition to the Greek pantheon, partly due to his minor role in the Homeric poems, and partly because of the many myths in which the god arrives, often from Thrace or Phrygia. Dionysus/Bacchus is the most widely-studied of the Greco-Roman divinities.
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