Singing for the Gods: Performances of Myth and Ritual in by Barbara Kowalzig
By Barbara Kowalzig
Making a song for the Gods develops a brand new strategy in the direction of an previous query within the learn of faith - the connection of fantasy and formality. concentrating on historical Greek faith, Barbara Kowalzig exploits the joint incidence of fable and formality in archaic and classical Greek song-culture. She indicates how choral performances of fantasy and formality, happening everywhere in the historical Greek global within the early 5th century BC, support to impact social and political switch of their personal time. non secular music emerges as fundamental to a speedily altering society soaring among neighborhood, nearby, and panhellenic identities and among aristocratic rule and democracy. Drawing on modern debates on fable, ritual, and function in social anthropology, smooth heritage, and theatre reports, this booklet establishes Greek religion's dynamic function and offers spiritual song-culture its deserved position within the learn of Greek historical past.
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Extra resources for Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece (Oxford Classical Monographs)
Sample text
Aetiology constructs a notion of individual 40 Graf (1993a) 110–18 is a rare treatment of some basic features of aetiological myth, though even he feels the need for justification in treating them in relation to ritual: ‘Cult aitia occur most frequently among etiological myths, and for that reason alone the connection between myth and ritual deserves a special consideration’ (113). 41 Eliade esp. (1949; Eng. 1955); also (1969) but the idea is also found in many of his other writings. 42 Calame (1996a) esp.
The simple observation that myth and ritual pose all the problems they pose because of the way they relate to change over time should encourage us to introduce a diachronic dimension into the study of myth and ritual, that is, one in which local and temporal variation interacts with particular social circumstances. Hugh-Jones’s study, and to a lesser degree that of Tambiah, suggest, though they do not elaborate on, a further valuable insight, that myth and ritual may do something quite different when they work together in the same setting, which means for us the performative setting of ritual choral song.
Aetiology creates a religious world that is tied to visible localities and lived local customs. It is always engrained in the physical world, linked to a tangible reality of cults and rituals, shrines and objects of cult. Unlike what at first sight seems to be ‘Panhellenic’ mythology—stories of how the Greek gods came into existence, such as those of Hesiod’s Theogony—cult aetiology is always geographically bound: it is what one sometimes hears referred to as the hieros logos of a particular place of importance in local religion.