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  1. Mousikê and mysteries: A Nietzschean reading of aeschylus’ bassarides.Sarah Burges Watson - 2015 - Classical Quarterly 65 (2):455-475.
    In chapter 12 ofBirth of Tragedy, Nietzsche describes Socrates as the new Orpheus, who rises up against Dionysus and murders tragedy:… in league with Socrates, Euripides dared to be the herald of a new kind of artistic creation. If this caused the older tragedy to perish, then aesthetic Socratism is the murderous principle; but in so far as the fight was directed against the Dionysiac nature of the older art, we may identify Socrates as the opponent of Dionysos, the new (...)
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  • Becoming Κλεινοσ in Crete and Magna Graecia: Dionysiac Mysteries and Maturation Rituals Revisited.Mark F. McClay - 2021 - Classical Quarterly 71 (1):108-118.
    This article reconsiders the historical and typological relation between Greek maturation rituals and Greek mystery religion. Particular attention is given to the word κλεινός (‘illustrious’) and its ritual uses in two roughly contemporary Late Classical sources: an Orphic-Bacchic funerary gold leaf from Hipponion in Magna Graecia and Ephorus’ account of a Cretan pederastic age-transition rite. In both contexts, κλεινός marks an elevated status conferred by initiation. (This usage finds antecedents in Alcman'sPartheneia.) Without positing direct development between puberty rites and mysteries, (...)
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