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Although the critics have traditionally observed the novel Tess of the D’Urbervilles as the disapproval of Victorian morals and double standards, the aim of this work is to point out the fact that this novel also has a general, universal meaning. Using Lukacs’ concept of realistic fiction as a synthesis of particular and universal as a starting point, the author of this research claims that this novel is a story of the tragic destiny of a particular character, but that at the same time Tess Durbeyfield functions as an embodiment of the Archetypal Feminine. Myths are symbolic expressions of archetypes, and, apart from numerous parallels with the ancient myth of Demeter and Persephone, the novel contains allusions to the myth of Genesis and to classical gods like Artemis and Apollo. The character of Tess Durbeyfield is closely related to earth and natural laws. Tough she has a great mythic potential, nobody (with the exception of Alec D’Urberville), not even Tess herself, realises it. Tis leads to a tragic outcome. Contrary to Persephone, who, even though Hades carries her to the Underworld and pronounces her his wife, succeeds to return to Earth and to begin a new life, Tess never regains stability after she loses her virginity to Alec. She does not recognise Alec’s function in terms of initiation into the world of maturity. Her sole reaction is neglect of the sensual part of her nature and her turning to the spiritual. There is no projection of the archetype, which inevitably leads Tess to failure and death.

In 1979, excavations in the eastern cemetery of Pella brought to light, among other finds, a small clay disc that depicts a three-headed deity. This rare object was found with several vases and figurines that allow its dating in the early Hellenistic period. In this article, after a short description of the find, and an examination of its context, special emphasis is given to the identification of the depicted deity and her most probable relation with the goddess Hekate. The clay disc possibly had a magic-protective character related with the passage of the dead to the underworld.

The monetarization of the markets accelerated in the 5th century BCE led to the monetarization of the cults. The mercantile logic and money-oriented society shaped the transaction between the worshippers and the cults of Demeter. The relationship to deities was regulated by ‘do ut des’, i.e. one gives something so that the deity may give something in return. The epigraphic sources from the 5th and 4th centuries BCE give insight into the finances of the Eleusinian cult and illustrate the extent of monetarization of the cult of Demeter. Animal sacrifices, aparche, and priestly share were also partially replaced by money. Coins found at various sanctuaries of Demeter were deposited as votives and treasuries.

Se analiza la conexión entre Ceres y las dinastías alto imperiales a través de las imágenes de las emperatrices representadas como Ceres. Se presta especial atención a la vinculación de la adormidera con Deméter/Ceres y la dinastía antoniniana.

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The Ancient Greek world didn’t have rules that were applied in every shrines and for every rituals that were performed inside. The norms depended on the places, the deities, and sometimes the period of the year. Among the documentation which provides us with information on the way the religious festivals were performed and the behaviour expected on the part of the worshippers entering the sanctuaries, we find a rich series of inscriptions, commonly called “sacred laws”. Until recently, these epigraphical datas have been studied from the point of view of the authorities which emitted the rules. The paper aims at shifting the perspective by studying the effects that such ritual prescriptions had upon the members of the community, in order to see to what extend the ritual norms were intented to act upon the body and the sensory experience of the worshippers. First, the paper sheds light upon the nature of the most common prohibitions to be found in the inscriptions. Then it focusses on the sensory effects produced by some rules connected to Demeter in the Peloponnesian, stating that these rules are meaningful regarding the relation established between the goddess and her worshippers.

The aim of this paper is to examine the place of vividness in Lycophron’s Alexandra. I will argue that, within the apparently haphazard juxtaposition of myths, Lycophron pays a constant attention to descriptive details in order to sketch, in his reader’s mind, the next image of the poem. The characteristics of his poem are well-known: obscure oracular language, erudite plays in which the author engages with his reader’s knowledge. This paper intends to shed light on a different aspect of Lycophron’s poetics: namely the relationship between word and image and the place of enargeia in the poem. Enargeia is indeed the means through which the labyrinthic and constantly unrolling thread of the mythological narrative becomes a prophetic vision, full of vividness. The images that Lycophron suggest are also meant to create strong and meaningful links between episodes that would, at first, seem independant and that are sometimes scattered throughout the poem. I will explore the connections between the dire meal of Demeter (Alex. 152-155), the image of Iphigeneia as the somber executioner of cruel sacrifices (Alex. 194-199), the role of her own son, Neoptolemus, in the sacrifice of Polyxena (Alex. 323-328). Finally, I will study the episode in which Penelope is shown as a raving maenad eager to dilapidate her husband’s wealth (Alex. 771-792).

Copyright of Studi e Materiali di Storia delle Religioni is the property of Editrice Morcelliana S.p.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)