Raquel Martín Hernández – författare

There is hardly a more controversial issue in the study of ancient religion than Orphism. More than two centuries of debate have not closed the subject, since new evidence and divergent approaches have kept appearing regularly. This volume sheds light on the most relevant pieces of evidence for ancient Orphism, collected in the recent edition by Alberto Bernabé. It contains 65 short new studies on Orphic fragments by leading international scholars who comment one of the most controversial phenomena in Antiquity from a plurality of perspectives. Readers will acquire a global vision of the multiple dimensions of the Orphic tradition, as well as many new insights into particular Orphic fragments.

There is hardly a more controversial issue in the study of ancient religion than Orphism. More than two centuries of debate have not closed the subject, since new evidence and divergent approaches have kept appearing regularly. This volume sheds light on the most relevant pieces of evidence for ancient Orphism, collected in the recent edition by Alberto Bernabé. It contains 65 short new studies on Orphic fragments by leading international scholars who comment one of the most controversial phenomena in Antiquity from a plurality of perspectives. Readers will acquire a global vision of the multiple dimensions of the Orphic tradition, as well as many new insights into particular Orphic fragments.

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.

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.

The present book is a compilation of studies on narratives of mythical origins in different cultures written by outstanding specialists. It aims to provide a broad view on creation-myths from different times and areas of the world with a particular focus on how these texts contributed to the conception of the past as “universal history”, as a common origin of mankind or as the great opening, the theatrum mundi. On the other hand, the purpose of this book is to study the phenomenon from a typological point of view, analyzing the specific characteristics of this particular type of texts, rather than finding influences between the different cultures in the genesis of these narratives.