Preliminary material /Maria Floriani Squarciapino -- IL CULTO DELLA MAGNA MATER /Maria Floriani Squarciapino -- IL CULTO DI ISIDE, SERAPIDE E DI ALTRE DIVINITÀ EGIZIANE /Maria Floriani Squarciapino -- IL CULTO DI MITRA /Maria Floriani Squarciapino -- TESTIMONIANZE DI ALTRI CULTI ORIENTALI /Maria Floriani Squarciapino -- DIDASCALIE DELLE TAVOLE /Maria Floriani Squarciapino -- TAV. I /Maria Floriani Squarciapino.
This volume deals with the figure of Attis. The work aims to reconsider the mythical and cultic information about this character, trying to provide proof of the processes of "construction" and "reconstruction" that have contributed to the moulding of the different forms of Attis that developed as a result of various demands within different religious traditions. After an introduction about the history of the studies, the first part examines the oldest evidence on Attis, resorting to comparison with religious traditions earlier than or contemporary with Phrygian culture. The second part tackles the classical world and collects the elements of continuity and of innovation in respect of Asianic religious traditions. The third part analyses the problem of the processes of reinterpretation of the traditional cults that both the "pagan" philosophers and the fathers of the Church effected. The link between Attis and Death is discussed in the fourth part.
Immortalized in death by The Clash, Pablo Neruda, Salvador Dalí, Dmitri Shostakovich and Lindsay Kemp, Federico García Lorca's spectre haunts both contemporary Spain and the cultural landscape beyond. This study offers a fresh examination of one of the Spanish language’s most resonant voices; exploring how the very factors which led to his emergence as a cultural icon also shaped his dramatic output. The works themselves are also awarded the space that they deserve, combining performance histories with incisive textual analysis to restate Lorca’s presence as a playwright of extraordinary vision, in works such as: Blood Wedding The Public The House of Bernarda Alba Yerma. Federico García Lorca is an invaluable new resource for those seeking to understand this complex and multifaceted figure: artist, playwright, director, poet, martyr and in the eyes of many, Spain’s ‘national dramatist’.
Other' Spanish Theatres challenges established opinions on modern Iberian theatre through a consideration of the roles of contrasting figures and companies who have impacted upon both the practice and the perception of Spanish and European stages. In this broad and detailed study, Delgado selects six subjects which map out alternative readings of a nation's theatrical innovation through the last century. These six subjects include Margarita Xirgu, Enrique Rambal, María Casarest and Nuria Espert.
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