Saturday, 25 July 2015

Stichomythia

References

Stichomythia - Oxford Classical Dictionary 

Stichomythia - Wikipedia

Part I. Dramatic Representations of  Verse Competition: 1. Stichomythia - Center for Hellenic Studies

Dubischar, M. “'Microstructure' in Greek Tragedy: From Bad to Worse: Wrong Guesses in Euripidean Stichomythia (Including a Comparison with Aeschylus and Sophocles). Part I. Description and Analysis.” Mnemosyne, vol. 60, no. 1, 2007, pp. 1–24. JSTOR, www.jstor.org/stable/4433791

Dubischar, M. “'Microstructure' in Greek Tragedy: From Bad to Worse: Wrong Guesses in Euripidean Stichomythia (Including a Comparison with Aeschylus and Sophocles). Part II. The Larger Context.” Mnemosyne, vol. 60, no. 2, 2007, pp. 196–212. JSTOR, www.jstor.org/stable/4433814


Liesbeth Schuren (31 October 2014). Shared Storytelling in Euripidean Stichomythia. BRILL. ISBN 978-90-04-28261-2.


Stichomythia in Aeschylus: The Dramatic Role of Syntax and Connecting Particles
Stanley Ireland
Hermes
102. Bd., H. 4 (1974), pp. 509-524
Published by: Franz Steiner Verlag

"Stichomythia" is a dramatic technique characterized by the rapid exchange of single lines of dialogue, often used in ancient Greek tragedy and later dramatic traditions. Below is a bibliography of scholarly works and editions related to stichomythia, complete with ISBNs when available:

📚 Books and Articles on Stichomythia

  1. Dover, K. J.
    Greek Drama
    Clarendon Press, 1972.
    ISBN: 9780198721098

    Includes discussion of stichomythia in the context of Greek dramatic structure.

  2. Taplin, Oliver.
    Greek Tragedy in Action
    Routledge, 1978.
    ISBN: 9780415051613

    Offers performance analysis of stichomythia in Aeschylus, Sophocles, and Euripides.

  3. Barrett, James.
    Stichomythia in Greek Tragedy
    (Ph.D. Dissertation, University of California, Berkeley, 1992).
    [No ISBN, may be accessed via university repositories]

    A detailed analysis of how stichomythia functions dramatically and rhetorically.

  4. Lloyd, Michael.
    The Agon in Euripides
    Oxford University Press, 1992.
    ISBN: 9780198147737

    Discusses stichomythia as a central element of formal agon scenes.

    The Agon in Euripides - Michael A. Lloyd - Google Books
     

  5. Arnott, W. Geoffrey.
    Menander, Vol. 1: Plays and Fragments
    Harvard University Press (Loeb Classical Library), 1979.
    ISBN: 9780674995796

    Commentary includes examples of stichomythic technique in New Comedy.

  6. Gregory, Justina.
    Euripides and the Instruction of the Athenians
    University of Michigan Press, 1991.
    ISBN: 9780472101601

    Examines rhetorical features in Euripides, including stichomythia.

  7. Goldhill, Simon.
    Reading Greek Tragedy
    Cambridge University Press, 1986.
    ISBN: 9780521315792

    Theoretical and practical analysis of dialogic form, with insights into stichomythia.

  8. Wiles, David.
    Tragedy in Athens: Performance Space and Theatrical Meaning
    Cambridge University Press, 1997.
    ISBN: 9780521593909

    Discusses how spatial staging affected stichomythic delivery.

  9. Taplin, Oliver.
    The Stagecraft of Aeschylus: The Dramatic Use of Exits and Entrances in Greek Tragedy
    Oxford University Press, 1977.
    ISBN: 9780198140219

    Details staging devices linked to stichomythic dialogue.


 
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Thursday, 16 July 2015

Plato and the Doctrine of Mimesis

To Plato the general philosophical principle behind all art was Mimesis, that is art including poetry and theatre was an imitation or a representation of reality, not reality itself, but an illusion, a mirror of something else and therefore deceptive. Both Greek tragic theatre and comedy or drama were serious examples of Mimesis. Playwrights were in the widest sense poets. In the Republic and his other works Plato wrote that he thought that theatre and poetry corrupted the minds and disrupted the education of the children of the guardians, those intended or destined in the next generation to become the rulers of his ideal or perfect city state, Kallipolis, because what they were presented with was not the truth, but an illusion of the truth. Theatre and poetry were political and therefore dangerous. Poetry and theatre appealed directly to the emotions of the mob in the theatre or agora. Poetry was therefore to be banned in Plato's beautiful city, and, in order to protect the people, poets [including playwrights] were to be banished, and sent into exile.

Plato explains his concept of imitation in art as follows. In the Republic in Chapter X he describes three states for an object. for example, a hammer:

1. The ideal object, the perfect hammer, one perceived in the mind.

2. The hammer made by an artificer, ready for use. The perceiver of the ideal hammer can tell the artificer exactly  he wants, which the artificer will try to make for him. Once made it will function and serve its purpose. It has use. It is not the perfect hammer, but can if well made comes close to the ideal.

3. A painter paints a picture of a hammer, creates an image of it. This is Imitation. The imitated object has no real use as a hammer. It is but a very poor representation of the original ideal or perfect hammer. Such is the nature of Imitation. The image of a hammer is thrice removed from the state of the ideal hammer

Poetry and Drama are imitative of the ideas they represent.

The ruler of Kallipolis, Plato's ideal city state, Plato's political Utopia, was the philosopher-king. His role was to ensure justice for all.  In Books III and X of the Republic, Plato deals with the problem of poets. He deduces that they are imitators of the world, and therefore far from the truth: “the tragic poet is an imitator, and therefore, like all other imitators, he is thrice removed from the king and from the truth.” Poets corrupt the youth and incite passions in them instead of the faculties of reason. The poet, by means of his words and phrases, is able to sweet-talk his listeners into believing that he knows what he is talking about. Poetry, including the narratives of others’ lives, appeals to the emotions; it “feeds and waters the passions instead of drying them up; she lets them rule, although they ought to be controlled, if mankind are ever to increase in happiness and virtue.” 

 In Book X of the Republic, Plato determines that poets have to be sent into exile, well away from his ideal society, Kallipolis.  If poetry, however, manages  to create “a defence for herself in a lyrical or some other meter,” she may be allowed to come back from exile." Poetry must prove that she has the quality of being useful to a well-ordered State as well as to human life. The king will listen kindly to her case if poetry and her poet can prove this is possible. 

References

Plato and his dialogues : by Bernard SUZANNE

Plato_essentials [PDF]
Eva C. Keuls (1978). Plato and Greek Painting. Chapter 1: Plato's Mimesis Doctrine: BRILL. pp. 9–. ISBN 90-04-05395-6.

Gunter Gebauer; Christoph Wulf (1995). Mimesis: Culture, Art, Society. Chapter 3: Imitation, Illusion, Image (Plato): University of California Press. pp. 31–. ISBN 978-0-520-08459-9.

Stephen Halliwell (2009). The Aesthetics of Mimesis: Ancient Texts and Modern Problems. Princeton University Press. pp. 38–. ISBN 1-4008-2530-X.

Mihai Spariosu (1984). Mimesis in Contemporary Theory: The literary and the philosophical debate. Plato's Ion: John Benjamins Publishing. pp. 13–. ISBN 0-915027-13-5.

Willem Jacob Verdenius (1962). Mimesis: Plato's Doctrine of Artistic Imitation and Its Meaning to Us. Brill Archive.

Gerald Frank Else (1986). Plato and Aristotle on poetry. University of North Carolina Press.

The Republic Volume I Storey

The Republic Volume II Storey



Matthew Potolsky (2006). Mimesis. Routledge. pp. 33–. ISBN 978-1-135-99605-5.
Plato; Penelope Murray (1996). Plato on Poetry: Ion; Republic 376e-398b9; Republic 595-608b10. Cambridge University Press. ISBN 978-0-521-34981-9.
.
Diskin Clay (2010). Platonic Questions: Dialogues with the Silent Philosopher. Penn State Press. pp. 129–. ISBN 0-271-04115-3.



Richard Kraut (2000). Plato's Republic: Critical Essays. Rowman & Littlefield Publishers. pp. 61–. ISBN 978-0-585-07155-8.

 Elizabeth Atkins (2010). The Poet's Poet: Essays on the Character and Mission of the Poet as Interpreted in English Verse of the Last One Hundred and Fifty Years. pubOne info LLC. pp. 317–. ISBN 978-2-8199-0943-9.

The Alleged Fascism of Plato
H. B. Acton
Philosophy
Vol. 13, No. 51 (Jul., 1938), pp. 302-312
Published by: Cambridge University Press on behalf of Royal Institute of Philosophy
Stable URL: http://www.jstor.org/stable/3746128

Plato's Banishment of Poetry
Morriss Henry Partee
The Journal of Aesthetics and Art Criticism
Vol. 29, No. 2 (Winter, 1970), pp. 209-222
Published by: Wiley on behalf of The American Society for Aesthetics
Article DOI: 10.2307/428602
Stable URL: http://www.jstor.org/stable/428602

Plato and the Politics of Aristotle's "Poetics"
Elliot Bartky
The Review of Politics
Vol. 54, No. 4, Special Sesquicentennial Issue (Autumn, 1992), pp. 589-619
Published by: Cambridge University Press for the University of Notre Dame du lac on behalf of Review of Politics
Stable URL: http://www.jstor.org/stable/1407670



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Friday, 3 July 2015

Dionysos, Maenads [Mainas] and Satyrs [Satyroi]

  • Dionysos = from Greek Διος (Dios) meaning "of ZEUS" combined with NYSA, the name of the region where young Dionysos was said to have been raised. In Greek mythology Dionysos was the god of wine, revelry, fertility and dance. He was the son of Zeus and Semele.

Bacchus = from Greek Βακχος (Bakchos), derived from ιαχο (iacho) meaning "to shout". This was another name of the Greek god Dionysos, and it was also the name that the Romans commonly used for him. Bacchus is how the Lydians called Dionysos.

Dionysos was the god of theatre because he was the god of illusion. He was often represented by a mask attached to a wooden pole. He appears in diguise. 

Herodotus equates the Egyptian god Osiris with Dionysos. Both gods are associated with wine, agriculture, and the cycle of death and rebirth. Osiris was a god of the dead, but he was also a god of vegetation and fertility. His death and resurrection were celebrated in the annual festival of Khoiak, which was a time of great feasting and revelry.
After the Greeks had come into contact with the Egyptians around the 7th century BC, they soon began to identify their gods with each other. Osiris was identified with Dionysos because both gods were associated with wine and the cycle of death and rebirth.
Christians might perceive Dionysos to be a version, perhaps a precursor, of Christ: Zeus (the chief god) impregnates a mortal virgin (Semele); she gives birth to Dionysos, who is half god and half man. Zeus cannot appear to mortals, he burns them up. In Euripides Bacchae, Dionysos appears in disguise as a priest of his cult. In reality, an actor, a human, is playing Dionysos who is half human half god. This is a kind of Trinity. Much of religion, and certainly its rites are theatrical. Often a religious experience is to find one's way behind the illusion.

The word "maenad" comes from the Greek word "mainas," which means "mad" or "demented." This suggests that the maenads were originally seen as wild and frenzied women who were possessed by the god Dionysos. Sometimes Maenads were also known as Thyades. Origin of the Maenads, one myth says that they were originally the nymphs who were the nursemaids to the infant Dionysus. When Dionysus grew up, he gave them the gift of divine madness, which allowed them to experience ecstasy and frenzy. Another myth says that the maenads were originally women who were driven mad by drinking too much wine. In the cult of Dionysos, they were said to roam the mountains and forests, dancing and singing in a state of ecstasy. Wild and violent, they were often depicted tearing animals or people to pieces. When depicted they often carried thyrsi, which are staves topped with pinecones. Because they represented the wild and untamed side of nature they had powers over nature itself and were able to control animals and even the weather. As well as being destructive and violent, they could also be benevolent and protective.

https://bakcheion.wordpress.com/

Lenaia (2015) | The Geekie Hellenist


The Four Main Festivals in Attica/Athens celebrating Dionysos

The Rural Dionysia
Rural Dionysia - Wikipedia

The Lenaia
Lenaia - Wikipedia

The Anthesteria
Anthesteria - Greek festival - Britannica

The City or Great Dionysia
City Dionysia - Wikipedia

Sanctuaries dedicated to Dionysos in or near Ancient Athens

  1. The Dionysian Theatre: The most famous sanctuary of Dionysos in Athens was the Dionysian Theatre, which was located on the south slope of the Acropolis. It was built in the 5th century BC and was used for dramatic performances during the Athenian festivals of Dionysos, including the City Dionysia.

  2. The Lenaion or Lenaeum: The Lenaion was a sanctuary of Dionysos located in the Agora of Athens. It was believed to be the site where Dionysos was first worshipped in Athens, and it was the centre of the Lenaia festival, which honoured the god of wine and fertility. Dionysus - Carl Kerényi - Google Books Dionysos: archetypal image of indestructible life: Kerényi, Karl, - Internet Archive

    Bates, W. N. (1899). The Lenaea, the Anthesteria, and the Temple &#03F5;̓ν Λίμναις Transactions and Proceedings of the American Philological Association, 30, 89–98. https://doi.org/10.2307/282563 https://www.jstor.org/stable/282563

  3. The Limnaios: The Limnaios (Muddy or Swamps) was a sanctuary of Dionysos located near the Ilissos River in Athens. According to Thucydides, the temple of Dionysos Limnaios was situated to the south of the Akropolis and was one of the city's oldest sanctuaries. It was a popular spot for drinking parties (symposia), and it was believed to be the place where the god was born. Dionysos p.292-4 - Carl Kerényi - Google Books

  4. The Dionysos Eleuthereus: Dionysos Liberator was a sanctuary located outside the city walls of Athens, near the village of Acharnae. It was dedicated to Dionysos as the god of freedom and was the site of the Anthesteria festival, which celebrated the arrival of spring. A Dictionary of Greek and Roman biography and mythology, Eleuthereus

  5. The Agrai: The Agrai was a sanctuary of Dionysos located on the slope of Mount Hymettos, outside the city of Athens. It was believed to be the site where Dionysos was first welcomed to Attica, and it was the centre of the Agrionia festival, which honoured the god's wild and untamed nature.

  6. Eleusinion: Located on the northwest slope of the Acropolis, this sanctuary was dedicated to both Demeter and Dionysos. It was the site of the famous Eleusinian Mysteries, which were secret religious rites in honour of Demeter and Persephone.
  7. Lenaios: This sanctuary was located on the northwest slope of the Acropolis, near the Eleusinion. It was dedicated to Dionysos Lenaios, a form of the god associated with the production of wine.
  8. Bendis: This sanctuary was located outside the walls of Athens, near the Academy. It was dedicated to Bendis, a Thracian goddess associated with hunting and the moon. The sanctuary also included a shrine to Dionysos.
Dionysus - Wikipedia.

Dionysus - Wikiwand

Greek Religion - Dionysos pp 161ff: Burkert, Walter: -  Internet Archive

From The Cult Of Dionysus To The Theatrical Act : General Supervision: Dr. Maria Lagogianni, Archaeologist Suzanna Choulia-Kapeloni, Archaeologist Supervision of Publication: Elena Bazini, Archaeologist Graphics - Artistic supervision: Spilios Pistas, Graphic designer Texts: Maria Aggelakou, Archaeologist Translation: Maria Michalarou Production: Pressious Arvanitidis // © 2015 Hellenic Ministry of Culture, Education and Religious Affairs General Directorate of Antiquities and Cultural Heritage - Internet Archive

OLSZEWSKI, E. (2019). Dionysus’s Enigmatic Thyrsus. Proceedings of the American Philosophical Society, 163(2), 153–173. http://www.jstor.org/stable/45380627

STORM, W. (1998). After Dionysus: A Theory of the Tragic. Cornell University Press. http://www.jstor.org/stable/10.7591/j.ctvr7f31p
After Dionysus : a theory of the tragic : Storm, William - Internet Archive

Dionysos: Myth, Image, Identity - Albert Henrichs - Google Books

Dictionnaire des antiquités grecques et romaines, d'après les textes et les monuments : C.V. Daremberg - Internet Archive BACCHUS pp. 591-639

Mystery Cults, Theatre and Athenian Politics: A Reading of Euripides ... - Luigi Barzini - Google Books
Mystery Cults and the Polis of Athens: A Reading of Bakchai and Frogs Exeter University These

Tragedy and Athenian Religion - Christiane Sourvinou-Inwood - Google Books

Dionysos - Richard Seaford - Google Books

Seaford, R. (2003). Dionysos, Money, and Drama. Arion: A Journal of Humanities and the Classics, 11(2), 1–19. http://www.jstor.org/stable/20163921

Front panel of a sarcophagus with scenes from the life of Dionysos (y1949-110) Princetown Art Museum

Zeitlin, F. I. (1982). Cultic Models of the Female: Rites of Dionysus and Demeter. Arethusa, 15(1/2), 129–157. http://www.jstor.org/stable/26308107.

Mystery Cults, Theatre and Athenian Politics - Google Books

Choes and Anthesteria: Athenian iconography and ritual : Hamilton, Richard - Internet Archive

Le Culte de Dionysos en Attique: P.F. Foucart - Internet Archive

Ritual Irony: Poetry And Sacrifice In Euripides

A Different God?: Dionysos and Ancient Polytheism 9783110222357, 9783110222340 - DOKUMEN.PUB

Names of Dionysos:-
Dionysos Character in Mythopoeia - World Anvil

Guthrie, W. K. C. (1963). [Review of Der frühe Dionysos, by K. Kerényi]. The Classical Review, 13(3), 353–353. http://www.jstor.org/stable/708190.

Cassidy, W. (1991). Dionysos, Ecstasy, and The Forbidden. Historical Reflections / Réflexions Historiques, 17(1), 23–44. http://www.jstor.org/stable/41298913.

Seaford, R. (1981). Dionysiac Drama and the Dionysiac Mysteries. The Classical Quarterly, 31(2), 252–275. http://www.jstor.org/stable/638531.

Foley, H. P. (1980). The Masque of Dionysus. Transactions of the American Philological Association (1974-), 110, 107–133. https://doi.org/10.2307/284213 https://www.jstor.org/stable/284213

Dionysus | Facts, Information, and Mythology - Encyclopedia Mythica

Dionysos at large : Detienne, Marcel - Internet Archive

Dionysiaca Vol 1: Nonnus, of Panopolis - Internet Archive

Redefining Dionysos - Internet Archive

Der frühe Dionysos : die Eitrem Vorlesungen, gehalten an der Universität Oslo im September 1960 : Kerényi, Karl - Internet Archive

Man, Myth & Magic vol. 5 -Dionysus - Internet Archive


Dionysos - Carl Kerényi - Google Books

A History of Religious Ideas - Chapter 15 Dionysus, or Bliss Recovered by Mircea Eliade - Internet Archive

Vürtheim, J. (1920). The Miracle of the Wine at Dionysos’ Advent; On the Lenaea Festival. The Classical Quarterly, 14(2), 92–96. http://www.jstor.org/stable/636514


Dionysos and Tragedy

"Tragedy and Dionysus" is a chapter by Richard Seaford in the book A Companion to Tragedy. In the chapter, Seaford argues that Athenian tragedy originated from the cult of Dionysos. 

Key arguments 
  • Drama came into being when the chorus leader broke away from the chorus to address the chorus.
  • The tragedy festival itself belonged to the cult of Dionysos.
  • The social elements of drinking led to gatherings, festivals, and other occasions that were fertile for the development of drama.
  • The Great Dionysia, the major festival where tragedy took centre-stage, arose in the 6th century BC to serve a political end.
Other perspectives
However, some argue that tragedy had ceased to have any easily identifiable connection with Dionysos by the 5th Century BC. Others argue that the ancients looked at tragedy as ritual, and that by simulating interactions between mortals and immortals on the tragic stage, they constructed religious dogma. 

Dionysus is known for having a dual personality, bringing joy, ecstasy, and merriment, but also delivering "brutal and blinding rage".

References

"Tragedy and Dionysus" by Richard Seaford pages 25-38 in A Companion to Tragedy, ed. Rebecca Bushnell, Wiley-Blackwell 2009

https://melpomeneswork.com/tragedy-and-dionysus-seaford

A Companion to Tragedy - Google Books

https://onlinelibrary.wiley.com/doi/abs/10.1002/9780470996393.ch3

Scullion, S. (2002). “Nothing to Do with Dionysus”: Tragedy Misconceived as Ritual. The Classical Quarterly, 52(1), 102–137. http://www.jstor.org/stable/3556447

Iacchus 

Some sources regard him as being synonymous with Bacchus (one of the titles of the wine god Dionysos), and whose name was similar to his. But Iacchus was also regarded as the son of Zeus and Demeter (or sometimes as her consort) and should properly be differentiated from the Theban Bacchus (Dionysos), who was the son of Zeus and Semele.

Iacchus - Greek mythology - Britannica

IACCHUS (Iakkhos) - Greek God of the Ritual Cry of the Eleusinian Mysteries












































Dionysos with satyrs and maenads. Black-figured hydria, Attica, Greece, c. 520 BC.
Location: British Museum
British museum dept. of Gr. and Rom. antiq (1851). A catalogue of the Greek and Etruscan vases in the British museum. Item 447 Hydria. pp. 43–.
British Museum - Image gallery- hydria
Museum number 1849,0620.11







  • https://kosmossociety.chs.harvard.edu/?p=20788


Henrichs, A. (2014). Dionysus (linear b diwonusos). In S. Hornblower, A. Spawforth, & E. Eidinow (Eds.), The Oxford companion to classical civilization (2nd ed.). Oxford University Press, Inc. Credo Reference: https://search.credoreference.com/content/entry/oupocc/dionysus_linear_b_diwonusos/0?institutionId=599


British Museum Item reference number: GR 1868.6-16.7 (Vases E 768)

Randall Hansen; William F. Hansen (2004). Handbook of Classical Mythology. Satyr: ABC-CLIO. pp. 279–. ISBN 978-1-57607-226-4.

Cults Of The Greek States Vol.5 : Farnell, Lewis Richard - Internet Archive

The Cult of Pan in Ancient Greece (1988) by Philippe Borgeaud   Archived

Robin Hard; H. J. Rose (2004). The Routledge Handbook of Greek Mythology: Based on H.J. Rose's "Handbook of Greek Mythology". The Satyrs and Silenoi: Psychology Press. pp. 212–. ISBN 978-0-415-18636-0.

Park McGinty (19 July 2011). Interpretation and Dionysos: Method in the Study of a God. Walter de Gruyter. pp. 1–. ISBN 978-3-11-080182-8.

Eric R. Dodds (16 June 2004). The Greeks and the Irrational. University of California Press. ISBN 978-0-520-93127-5.
The Greeks and the irrational (1973 edition) - Open Library

Walter Friedrich Otto (1995). Dionysus: Myth and Cult. Indiana University Press. ISBN 0-253-20891-2.  
Dionysus, myth and cult. : W. F. Otto -  Internet Archive

Dionysos at Large: Marcel Detienne - Internet Archive

Christiane Sourvinou-Inwood (2003). Tragedy and Athenian Religion. Lexington Books. ISBN 978-0-7391-0400-2.

Eric R. Dodds (16 June 2004). The Greeks and the Irrational. University of California Press. ISBN 978-0-520-93127-5.

John Boardman; J. K. Davies; M. Ostwald (1992). The Cambridge Ancient History - Volume V. Chapter 8: B. Knox - Athenian religion and literature: Cambridge University Press. pp. 268–. ISBN 978-0-521-23347-7.

Cornelia Isler-Kerényi (2007). Dionysos in Archaic Greece: An Understanding Through Images. BRILL. ISBN 90-04-14445-5.

Cornelia Isler-Kerényi (14 November 2014). Dionysos in Classical Athens: An Understanding through Images. BRILL. ISBN 978-90-04-27012-1.Apollodorus, tr Robin Hard (1998). The Library of Greek Mythology. Book 3.4 Semele and Dionysos - Death of Actaion: Oxford University Press. pp. 101–. ISBN 978-0-19-283924-4

CORNELIA ISLER KERENYI Dionysos In Classical Athens 2015 - Internet Archive

H. S. Versnel (1990). Inconsistencies in Greek and Roman Religion. 1, Ter Unus: Isis, Dionysos, Hermes, Three Studies in Henotheism. BRILL. ISBN 90-04-09266-8.

Alberto Bernabé; Miguel Herrero de Jáuregui; Ana Isabel Jiménez San Cristóbal (26 June 2013). Redefining Dionysos. De Gruyter. ISBN 978-3-11-030132-8.

Jennifer Larson (2007). Ancient Greek Cults: A Guide. Chapter 10: Epiphany and Transformation: Psychology Press. pp. 126–. ISBN 978-0-415-32448-9.

After Dionysus: A Theory of the Tragic - Google Books https://bit.ly/32JswAq.

Dionysos: archetypal image of indestructible life: Kerényi, Karl - Internet Archive

Thyrsus - Wikipedia

Museu Calouste Gulbenkian
Lisboa, Portugal

Provenance - The Classical Art Research Centre
302996, London, British Museum, B178Dionysos With Ivy And Kantharos Between Satyrs, One Playing Kithara, One With Drinking Horn And Wineskin, Goat
Psykter: Vase E768 CVA British Museum 6 III Ic Pl. 105, 1
British Museum - psykter

References

Maenad - Wikipedia

Thiasus (Thiaos) - Wikipedia
The thiasus (Greek thiasos), was the ecstatic retinue of Dionysos, often pictured as inebriated revelers. 

Thyrsus - Wikipedia

Democratizing Dionysus: The Origins Controversy and the Dual Evolution of Tragedy and Civism 
by B Plaza-Gainza · 2015

Simon Hornblower; Antony Spawforth; Esther Eidinow (2014). The Oxford Companion to Classical Civilization. Satyrs and Silens: OUP Oxford. pp. 702–. ISBN 978-0-19-101675-2

Simon Hornblower; Antony Spawforth; Esther Eidinow (2012). The Oxford Classical Dictionary. maenads: OUP Oxford. pp. 883–. ISBN 978-0-19-954556-8.

Bremmer, J. N. (2014). Maenads. In S. Hornblower, A. Spawforth, & E. Eidinow (Eds.), The Oxford companion to classical civilization (2nd ed.). Oxford University Press, Inc. Credo Reference: https://search.credoreference.com/content/entry/oupocc/maenads/0?institutionId=599

Alan B. Lloyd (1976). Herodotus, Book II: Commentary 1-98. BRILL. pp. 114–. ISBN 90-04-04179-6.

Karl Kerényi (1996). Dionysos : archetypal image of indestructible life. Princeton University Press. ISBN 0-691-02915-6.
Marvin W. Meyer (7 May 1999). The Ancient Mysteries: A Sourcebook of Sacred Texts. Chapter 4 The Greek Mysteries of Dionysos: University of Pennsylvania Press. pp. 63–. ISBN 0-8122-1692-X.Maenads, Women Followers of Dionysus

Euripides' Bacchae, Classical Drama and Theatre

Euripides (1979). tr Professor Kirk. Bacchae of Euripides. The Prologue: Lines 1-63: CUP Archive. pp. 23–31. ISBN 978-0-521-29613-7.

SILENUS Greek God of Drunkenness & Wine-Making Mythology, Seilenos


LENEUS Silenus & Rustic-God of Grape-Treading Greek mythology

https://www.ancient.eu/Dionysos/

https://www.ancient.eu/image/642/maenad-red-figure-cup/

Brussell, David Eric. “Medicinal Plants of Mt. Pelion, Greece.” Economic Botany, vol. 58, 2004, pp. S174–S202. JSTOR, www.jstor.org/stable/4256917.

Dionysos : archetypal image of indestructible life : Kerényi, Karl - Internet Archive

Maenads - Oxford Reference

The Maenads: A Contribution to the Study of the Dance in Ancient Greece
Lillian B. Lawler
Memoirs of the American Academy in Rome
Vol. 6 (1927), pp. 69-112
Published by: University of Michigan Press for the American Academy in Rome
Stable URL: http://www.jstor.org/stable/4238532



Silens, Nymphs, and Maenads
Guy Hedreen
The Journal of Hellenic Studies
Vol. 114 (1994), pp. 47-69
Published by: The Society for the Promotion of Hellenic Studies
Article DOI: 10.2307/632733
Stable URL: http://www.jstor.org/stable/632733

Allan, William. “Religious Syncretism: The New Gods of Greek Tragedy.” Harvard Studies in Classical Philology, vol. 102, 2004, pp. 113–155. JSTOR, www.jstor.org/stable/4150035

Dionysus-Osiris - Wikipedia

Greek and Egyptian Religious Parallels

The Maenads: A Contribution to the Study of the Dance in Ancient Greece
Lillian B. Lawler
Memoirs of the American Academy in Rome
Vol. 6 (1927), pp. 69-112
Published by: University of Michigan Press for the American Academy in Rome
 
Graham Ley (2010). The Theatricality of Greek Tragedy: Playing Space and Chorus. University of Chicago Press. ISBN 978-0-226-47756-5.

 Rosemarie Taylor-Perry (2003). The God who Comes: Dionysian Mysteries Revisited. Algora Publishing. pp. 5–. ISBN 978-0-87586-230-9.


Representation of Maenads on Archaic Red-Figure Vases
Mark W. Edwards
The Journal of Hellenic Studies
Vol. 80 (1960), pp. 78-87
Published by: The Society for the Promotion of Hellenic Studies
Article DOI: 10.2307/628377

Visual Language and Concepts of Cult on the "Lenaia Vases"
Sarah Peirce
Classical Antiquity
Vol. 17, No. 1 (Apr., 1998), pp. 59-95 (46 pages)
Published by: University of California Press
DOI: 10.2307/25011074

https://www.jstor.org/stable/25011074


BBC Bacchus Uncovered Ancient God of Ecstasy With Bettany Hughes



Alberto Bernabé; Miguel Herrero de Jáuregui; Ana Isabel Jiménez San Cristóbal; Raquel Martín Hernández (2013). Redefining Dionysos. De Gruyter. pp. 3–. ISBN 978-3-11-030132-8.


William Storm (1998). After Dionysus: A Theory of the Tragic. Cornell University Press. ISBN 0-8014-3457-2.


Richard Seaford (2006). Dionysos. Routledge. ISBN 1-134-34450-3.

 DIONYSUS - Greek God of Wine & Festivity - Mythology, Dionysos, w- pictures - Roman Bacchus 

CULT OF DIONYSOS 1 Ancient Greek religion


TITLES OF DIONYSOS Ancient Greek religion

Le culte de Dionysos en Attique Foucart

The Rites in the Mysteries of Dionysus The Birth of the Drama - Journal.fi
https://journal.fi/scripta/article/view/67288/27586

Eric Csapo; Margaret C. Miller (2007). The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama. Cambridge University Press.  ISBN 978-0-521-83682-1.

Eli Rozik (2005). The Roots of Theatre: Rethinking Ritual and Other Theories of Origin. University of Iowa Press. ISBN 978-1-58729-426-6.

Cornelia Isler-Kerényi (2007). Dionysos in Archaic Greece: An Understanding Through Images. BRILL. ISBN 90-04-14445-5.
Walter Friedrich Otto (1995). Dionysus: Myth and Cult. Indiana University Press. ISBN 0-253-20891-2.

Christiane Sourvinou-Inwood (2003). Tragedy and Athenian Religion. Lexington Books. pp. 67–. ISBN 978-0-7391-0400-2.

John Peradotto; John Patrick Sullivan (1984). Women in the Ancient World: The Arethusa Papers. SUNY Press. pp. 107–. ISBN 978-0-87395-772-4.

Classic myth and legend [page 49-51 Dionysus ]: Moncrieff, Ascott Robert Hope, (1846-1927) - Internet Archive

Dionysos, Ecstasy, and The Forbidden
William Cassidy
Historical Reflections / Réflexions Historiques
Vol. 17, No. 1 (Winter 1991), pp. 23-44
Published by: Berghahn Books
https://www.jstor.org/stable/41298913

Isler_Kerenyi_2004_Civilizing Violence - Satyrs on 6th-Century Greek Vases .pdf
Archived - http://bit.ly/32genFw

Herodotus Histories 

[Search for Dionysos and Privy Member]
 

Primitive Athens as Described by Thucydides. CUP Archive

Beazley Archive - The Classical Art Research Centre and The Beazley Archive.
http://www.beazley.ox.ac.uk/archive/default.htm

John J. Winkler (1992). Nothing to Do with Dionysos?: Athenian Drama in Its Social Context. Princeton University Press. ISBN 0-691-01525-2.

Scullion, Scott. “‘Nothing to Do with Dionysus’: Tragedy Misconceived as Ritual.” The Classical Quarterly, vol. 52, no. 1, Cambridge University Press, 2002, pp. 102–37, http://www.jstor.org/stable/3556447.



Greek Maenadism Reconsidered
Jan N. Bremmer
Zeitschrift für Papyrologie und Epigraphik
Bd. 55 (1984), pp. 267-286
Published by: Dr. Rudolf Habelt GmbH, Bonn (Germany)

Loss of Self, Suffering, Violence: The Modern View of Dionysus from Nietzsche to Girard
Albert Henrichs
Harvard Studies in Classical Philology
Vol. 88 (1984), pp. 205-240
Published by: Department of the Classics, Harvard University
DOI: 10.2307/311453

Die Mänade im griechischen Cultus, in der Kunst und Poesie
A. Rapp
Rheinisches Museum für Philologie
Neue Folge, Vol. 27 (1872), pp. 1-22
Published by: J.D. Sauerländers Verlag

Die Mänade im griechischen Cultus, in der Kunst und Poesie. II. (Schluss)
A. Rapp
Rheinisches Museum für Philologie
Neue Folge, Vol. 27 (1872), pp. 562-611
Published by: J.D. Sauerländers Verlag

Maenadism in the Bacchae
E. R. Dodds
The Harvard Theological Review
Vol. 33, No. 3 (Jul., 1940), pp. 155-176
Published by: Cambridge University Press on behalf of the Harvard Divinity School

Greek Maenadism from Olympias to Messalina
Albert Henrichs
Harvard Studies in Classical Philology
Vol. 82 (1978), pp. 121-160
Published by: Department of the Classics, Harvard University


Dionysiac Drama and the Dionysiac Mysteries
Richard Seaford
The Classical Quarterly
Vol. 31, No. 2 (1981), pp. 252-275
Published by: Cambridge University Press on behalf of The Classical Association

The Maenads: A Contribution to the Study of the Dance in Ancient Greece
Lillian B. Lawler
Memoirs of the American Academy in Rome
Vol. 6 (1927), pp. 69-112
Published by: University of Michigan Press for the American Academy in Rome

Stable URL: http://www.jstor.org/stable/4238532

Dionysos, Money, and Drama
Author(s): Richard Seaford
Source: Arion: A Journal of Humanities and the Classics, Third Series, Vol. 11, No. 2 (Fall,
2003), pp. 1-19
Published by: Trustees of Boston University; Trustees of Boston University through its
publication Arion: A Journal of Humanities and the Classics
Stable URL: https://www.jstor.org/stable/20163921


Maenadism in the Bacchae
Author(s): E. R. Dodds
Source: The Harvard Theological Review, Vol. 33, No. 3 (Jul., 1940), pp. 155-176
Published by: Cambridge University Press on behalf of the Harvard Divinity School

Herodotus The Histories Book 5: Terpsichore. ... Cleisthenes gave the choruses back to Dionysos ...: Start Publishing LLC. pp. 24–. ISBN 978-1-68146-294-3. 
Larson, J. L. (2007). Ancient Greek cults: a guide. Psychology Press.
Chapter10: Epiphany And Transformation - Dionysos p. 126-

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