By Renate Schlesier
Within glossy frameworks of information and illustration, Dionysos usually seems to be odd for old tradition, an exception in the context of historic polytheism, or perhaps an example of a distinction that anticipates modernism. How can fresh examine give a contribution to a extra specific knowing of the varied ameliorations of the traditional god, from Greek antiquity to the Roman Empire? during this quantity, that is the results of a world convention held in March 2009 on the Pergamon Museum Berlin, students from all branches of classical experiences, together with heritage of scholarship, give some thought to this question. accordingly, this results in a brand new glance on vase work, sanctuaries, rituals and religious-political associations like theatre, and comprises new readings of the texts of old poets, historians and philosophers, in addition to of papyri and inscriptions. it's the range of resources or tools and the problem of former perspectives that's the energy of this quantity, supplying a accomplished, leading edge and richly faceted account of the several god in an remarkable way."
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Extra info for A Different God? Dionysos and Ancient Polytheism
8 Über weitere Hintergründe dieses ,teuthranischen‘ Mythos können wir nur spekulieren. Ein nicht unwichtiges Noch-Nicht ist festzuhalten: Silene und Satyrn erscheinen im alten Epos für sich, nicht verbunden mit Dionysos: Silenoi sind im alten Aphrodite-Hymnos (Hom. Hymn. 262) die wilden Partner der Nymphen im Bergwald. 10) auf; daß sie zur Nachkommenschaft des Doros gehören, hat erst ein neuerer Papyrusfund ergeben. Sie sind demnach wohl in der Peloponnes zuhause; man kann die Geschichte von Amymone und dem Satyr (Aesch.
On non-continuity in dance, see Naerebout (1997) 54 – 102. For the defense: Walcot (1996). Moreover “some peasants even believe that certain saints are more powerful than God” (Banfield  125). Banfield (1958) 124 f. For instance, only one of them is generally identified as the mother of Christ (who, incidentally, in this case is fully exchangeable with God). The Madonnas are: (1) the Madonna of Pompeii, whose miracles are well-known in Montegrano; (2) the Madonna of Carmin, whose feast is celebrated in a nearby town; (3) the Madonna of Peace, who is honoured in Montegrano with a feast and with a statue erected after World War I and to whom the mothers prayed for their sons at war; (4) the Madonna of Assunta, the protectress of one of the Montegrano churches; and (5) the Madonna Addolorata, most commonly identified with the mother of Christ.
Jonathan Z. ” I suggest we accept this challenge. For we have not nearly finished our quest. If we now accept a basic structural pluriformity of each god, the next question, one that as far as I know has not previously been broached, already looms up: are there also differences in the degree to which one identity (say the image of the god in daily cultic milieu) of a god permeates the persona as staged in myth and tragedy? On one hand there are extreme contrasts. Typical are, for instance, the contrasts between the lofty Apollo of Delphi and the Homeric hymn on one hand, and his little namesake Apollo Aguieus on the other, or between Zeus Olympios and Zeus Ktesios, who is worshipped in the form of a mail-jar; or that of Hermes, the swift god of myth, in vase painting, and the palaestra, and the immovable Herm.
A Different God? Dionysos and Ancient Polytheism by Renate Schlesier