This ebook contributes to the certainty of Dionysos, the Greek god of wine, dancing, theatre and ecstasy, by way of placing jointly 30 reports of classical students. They mix the research of particular circumstances of specific dimensions of the god in cult, fable, literature and iconography, with normal visions of Dionysos in antiquity and glossy instances. basically from the mix of other views do we seize the advanced character of Dionysos, and the varieties of his presence in numerous cults, literary genres, and inventive types, from Mycenaean occasions to overdue antiquity.
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Extra info for Redefining Dionysos (MythosEikonPoiesis, Volume 5)
5 I shall return to possible interpretations of these tablets later on. The situation of the Mycenaean texts begins to change in 1990 when, in the excavations in Kastelli hill in Chania, known in the Mycenaean texts as ku-do-nija, that is, Cydonia, another tablet was found (Gq 5) that again contained the sequence di-wo-nu-so. 2 di-wi-jo-ḍẹ di-we Ṃ Ẹ+ṚI ̣ *2̣0̣9̣ V A S +Ạ 1̣ [ di-wo-nu-so ̣, Ṃ Ẹ+ṚI ̣ [*209V A S +A] 2̣ [ Nevertheless, the presence of the god’s name in tablets from Pylos was still in doubt, particularly when in 1992 Bennett discovered that the fragment previously known as PY Xa 102 (the series X consists of fragments that do not present any features that could allow for their inclusion into any of the other given groups) did in fact belong to the series Ea, one of the series of the misnamed ‘Cadastre’ which contains registries of distributions of grain to be sowed.
170 Radt; Xenocl. fr. 1 Snell; Iophon fr. 2 Snell; Cleophon fr. 1 Snell; Epich. frr. 16–17 Kassel-Austin; Lysipp. frr. ; Diocl. Com. frr. ; Antiph. fr. ; Philol. fr. 19 Huﬀman. , fr. 9 Kannicht-Snell; A. Eu. 25; S. Ant. 1122, fr. 1 Radt; E. Hipp. 551, Hec. 121, 1076, Hel. 543, Ph. 1489, Or. 1493a (corrupt verse), Io 717, Cyc. 64, 72, Ba. 51, 62, 83, 129, 152, 153, 169, 259, 415, 443, 499, 578, 664, 690, 735, 759, 779, 785, 791, 799, 837, 842, 847, 915, 940, 942, 946, 987, 1020, 1029, 1093, 1131, 1160, 1168, 1224, 1387; Ar.
1 Kannicht, Hyps. fr. 20 In all these uses of the terms βάκχη, βάκχος, Βάκχος, Βάκχιος and Βακχεῖος in texts from the 7th to the 4th centuries BCE, we observe the following phenomena: 1) βάκχη and βάκχος are used to designate people from the 7th and 6th centuries (Alcman, Heraclitus), whereas the ﬁrst evidence of Βάκχος applied to Dionysos is in a choral song of Sophocles’ Oedipus Rex (211). From this we can deduce that the application of the term to the faithful is older than its application to the god.