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A Companion to the Archaeology of Religion in the Ancient

A better half to the Archaeology of faith within the old World offers a accomplished evaluate of quite a lot of subject matters in terms of the practices, expressions, and interactions of faith in antiquity, essentially within the Greco-Roman world.

• good points readings that target spiritual event and expression within the historical global instead of completely on non secular belief
• locations a robust emphasis on household and person spiritual practice
• Represents the 1st time that the idea that of "lived religion" is utilized to the traditional heritage of faith and archaeology of religion
• comprises state-of-the-art info taken from most sensible modern researchers and theorists within the field
• Examines a wide number of issues and non secular traditions throughout a large geographical zone and chronological span
• Written to attraction both to archaeologists and historians of faith

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Additional info for A Companion to the Archaeology of Religion in the Ancient World (Blackwell Companions to the Ancient World)

Example text

Complex sanctuaries, temple interiors, theaters, processions and ways of creating spaces of remembrance in the Roman city are dealt with in the contributions. Raja argues that complex sanctuaries in a traditional sense may have conformed to ideas and ideals about architectural design and decoration for a large part across the Roman Empire. However, through case studies she shows that what we may term traditional sacred complex spaces in fact were compiled by a series of elements, which could vary to a large extent.

They span the period from the eighth century BCE to the High Imperial period, which allows an insight into the changing patterns and some of the reasons which were agents in these processes of change. Among other things, they examine changes in patterns of belief and, in particular, belief in an afterlife as well as rituals connected to the cult of the dead. However, prominently in the chapter stands the argument that graves were media for the communication of societal ideas about the structural relations between the living and the dead, the present and the afterlife as well as the representation of the community ideals of how to commemorate and stage the deceased.

Whereas in classical Athens the performances of tragedies, comedies, and satyr plays had been restricted to the cult of Dionysus, this exclusivity gradually dissolved, with the result that plays could, especially in the Hellenistic and Roman periods, also be performed at festivals in honor of other gods. Performances, masked and dramatic, were integrated into festivals of gods throughout Antiquity, not only because drama was considered sacred action, as she shows, but rather because festivals also provided a suitable festive frame that attracted a large audience, which to a Greek or Roman mind certainly included the gods.

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