Alberto Bernabé – författare

Cult classics.Orpheus is familiar from Greek mythology as a peerless bard, the Thracian son of a Muse with superhuman musical abilities that enabled him to win the release of his young wife Eurydice from Hades, only to lose her on the way back. But he was also considered an authentic poet preceding Hesiod and Homer and on a par with Musaeus, and was credited with poems, oracles, and the foundation of rituals in a tradition that remained vital and creative from Archaic Greece through to the Roman Empire and beyond. Essentially Dionysiac, but without the violence and blood sacrifice, and with a focus on theogony, cosmogony, and the origin and destiny of souls, Orphism was at once a distinctive and an open tradition, with significant change and development over time but with features that made the works and rituals cumulatively attributed to Orpheus identifiable to followers. This tradition endowed them with a lasting coherence despite the absence of dogma or control by priests. Although Orphism departed in profound and fascinating ways from conventional accounts, it proved highly adaptable to various religious and philosophical systems, especially Pythagorean and Neoplatonist but also Judaic and Christian.This edition collects works representing the most ancient Orphic literature, excluding later mythological, scientific, and pseudo-scientific poems opportunistically attributed to him.

This final volume of the Poetae epici Graeci includes the testimonia and fragments of Musaeus, Linus, Epimenides and the Papyrus Derveni. Numerous indices (fontium, verborum, auctorum et operum) and a Concordantia numerorum facilitate the use of the entire edition.

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.