Article
Babylonian Epic of Creation
Adrian Cornelius Heinrich
Article
mythography
R. Scott Smith
Article
mythology, Greek
Sarah Iles Johnston
Myths were told in a broad variety of contexts by a broad variety of people in ancient Greece. Unlike fairy tales and fables, Greek myths focus on specifically named individuals, such as Heracles and Athena, who interact with other such individuals across a span of different stories, creating a network of stories and characters. Although Greek myths explore many of the same plots and themes as other traditional tales, they were particularly interested in tales of heroes, metamorphosis, and love affairs between gods and human women. Ancient intellectuals interpreted myths as allegories or as distorted versions of real history. Modern scholars have used a variety of approaches to interpret Greek myths, most of which have been anchored in act of comparing them to the myths of other cultures: the ritualist approach, the structuralist approach, the psychoanalytical approach and narratological approaches. In the past few decades, there has been increasing interest in mythography and in the reception of Greek myths.
Article
drama, reception of
Emma Cole
Ancient drama has had a vast influence upon the literary, performance, and intellectual culture of modernity. From ancient Greece thirty-two tragedies, eleven comedies, and one satyr play survive, and from ancient Rome ten tragedies and twenty-seven comedies remain, alongside countless fragments from all genres. Many of the surviving plays are staged in contemporary theatre in both literal translation and more liberal adaptation, and today more ancient drama is seen in professional theatres than at any point since antiquity. Although all ancient dramatic genres have a rich reception history, Greek tragedy dominates the field, particularly in the 20th and 21st centuries. Productions of Greek tragedy today range from masked performances in the original language through to radical, avant-garde, immersive, and postdramatic reinventions. Greek tragedy is also frequently used as a touchstone within literary theory and broader intellectual discourse, from the theorisation of the ideal form of performance (Wagner’s Gesamtkuntswerk) to the development of psychoanalytic theory (Freud’s Oedipus complex) and structuralism (Lévi-Strauss). Ancient drama has also provided inspiration for entirely new dramatic forms; the influence of Roman tragedy, for example, can be felt within the revenge tragedies of the Elizabethan and Jacobean eras, while traces of Roman comedy can be felt in slapstick comedy and Italian commedia dell’arte. Current growth areas within both artistic practice, and academic research into the reception of ancient drama, include the performance reception of dramatic fragments, an increased interest in forms such as burlesque and pantomime, and the use of ancient drama as a tool of resistance against oppressive political regimes.
Article
Derveni papyrus
Valeria Piano
As one of the most ancient Greek papyri ever found (it dates back to the second half of the 4th century
Article
magic, Greek
Radcliffe G. Edmonds III
Greek magic is the discourse of magic within the ancient Greek world. Greek magic includes a range of practices, from malevolent curses to benevolent protections, from divinatory practices to alchemical procedures, but what is labelled magic depends on who is doing the labelling and the circumstances in which the label is applied. The discourse of magic pertains to non-normative ritualized activity, in which the deviation from the norm is most often marked in terms of the perceived efficacy of the act, the familiarity of the performance within the cultural tradition, the ends for which the act is performed, or the social location of the performer. Magic is thus a construct of subjective labelling, rather than an objectively existing category. Rituals whose efficacy is perceived as extraordinary (in either a positive or negative sense) or that are performed in unfamiliar ways, for questionable ends, or by performers whose status is out of the ordinary might be labelled (by others or by oneself) as magic in antiquity.
Article
underworld
Radcliffe G. Edmonds III
Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above. All of these depictions made use of the same basic set of elements, adapting them in their own ways to describe the location of, the entering into, and the regions within the underworld.
Article
mysteries, Bacchic
Fritz Graf
Mystery cults of Dionysos are attested to in Greece from the late Archaic epoch and expanded to Rome in Hellenistic times. They appear in two forms, the group (thíasos) of ecstatic women (mainádes) who celebrate their rituals in the wilderness outside the city and in opposition to the restrictive female city life; and the thíasos of both men and women that constitutes itself as a cultic association and celebrates inside the cities but preserves the ideology of a performance outside the city. The main goal in both types of cult groups was the extraordinary experience of loss of self through drinking wine and dancing; the mixed-gender groups often added eschatological hopes. The purely female thiasoi were led by a priestess of Dionysos, whereas the mixed-gender groups were often led by a male professional initiator. The most conspicuous trace of these initiations are the so-called Orphic gold tablets that attest to the expectations for a better afterlife.
