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  1. Dionysiac Drama and the Dionysiac Mysteries.Richard Seaford - 1981 - Classical Quarterly 31 (02):252-.
    In Euripides' Bacchae Dionysos visits Thebes in disguise to establish his mysteries there. And so, given normal Euripidean practice, it is almost certain that in the lost part of his final speech Dionysos actually prescribed the establishment of his mysteries in Thebes. In the same way the Homeric Hymn to Demeter tells how the goddess came in disguise to Eleusis and finally established her mysteries there. After coming to Eleusis she performs certain actions in the house of king Celeus, for (...)
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  • Dionysiac Drama and the Dionysiac Mysteries.Richard Seaford - 1981 - Classical Quarterly 31 (2):252-275.
    In Euripides'BacchaeDionysos visits Thebes in disguise to establish his mysteries there. And so, given normal Euripidean practice, it is almost certain that in the lost part of his final speech Dionysos actually prescribed the establishment of his mysteries in Thebes. In the same way theHomeric Hymn to Demetertells how the goddess came in disguise to Eleusis and finally (vv. 476–82) established her mysteries there. After coming to Eleusis she performs certain actions in the house of king Celeus, for example the (...)
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  • Language and Symbolic Power.Ian Buchanan, Pierre Bourdieu, Gino Raymond & Matthew Adamson - 1993 - Substance 22 (2/3):342.
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  • Popular Perceptions of Elite Homosexuality in Classical Athens.Thomas K. Hubbard - forthcoming - Arion 6 (1).
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  • Going beyond multitexts: The archetype of the orphic gold leaves.Richard Janko - 2016 - Classical Quarterly 66 (1):100-127.
    In his magisterial work Persephone, Zuntz drew a basic distinction between two sets of Orphic gold leaves—those known from the elaborate tumuli at Thurii, which he called Group A, and a more widely scattered series, Group B, then represented by two longer texts from Petelia in southern Italy and Pharsalus in Thessaly, and, in a shortened form, by a series of six short texts from the environs of Eleutherna in Crete. Three further finds have reinforced Zuntz's distinctions: first, a tablet (...)
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  • Mystic Light In Aeschylus’ Bassarai.Richard Seaford - 2005 - Classical Quarterly 55 (2):602-606.
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  • Mystic light in aeschylus' bassarai.Richard Seaford - 2005 - Classical Quarterly 55 (02):602-606.
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