sparagmos

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      Sparagmos (Ancient Greek: σπαραγμός, from σπαράσσω sparasso, "tear, rend, pull to pieces") is an act of rending, tearing apart, or mangling, usually in a Dionysian context.
      In Dionysian rite as represented in myth and literature, a living animal, or sometimes even a human being, is sacrificed by being dismembered. Sparagmos was frequently followed by omophagia (the eating of the raw flesh of the one dismembered). It is associated with the Maenads or Bacchantes, followers of Dionysus, and the Dionysian Mysteries.
      Examples of sparagmos appear in Euripides's play The Bacchae. In one scene guards sent to control the Maenads witness them pulling a live bull to pieces with their hands. Later, after King Pentheus has banned the worship of Dionysus, the god lures him into a forest, to be torn limb from limb by Maenads, including his own mother Agave. According to some myths, Orpheus, regarded as a prophet of Orphic or Bacchic religion, died when he was dismembered by raging Thracian women.


      Medea


      Medea is said to have killed and dismembered her brother whilst fleeing with Jason and the stolen fleece in order to delay their pursuers, who would be compelled to collect the remains of the prince for burial. The Italian film director Pier Paolo Pasolini staged a sparagmos ritual as part of a long sequence near the beginning of his film Medea (1969), before dramatising the episode in which Medea kills her brother in a similar way.


      Modern literature and theory


      Interpreting the ritual through the lens of the Freudian Oedipus complex, Catherine Maxwell identifies sparagmos as a form of castration, particularly in the case of Orpheus.
      Historically, it is presumed that women celebrating the rites of Dionysus did not actually dismember animals or eat raw flesh, although it is believed those acts still had some basis in maenadic ritual.
      In contemporary literature, this is used in Tennessee Williams's play Suddenly, Last Summer.
      Sparagmos is also briefly mentioned in Donna Tartt's The Secret History.
      Camille Paglia, in her controversial survey of Western culture Sexual Personae, uses sparagmos to describe flesh-rending violence in several works, including The Bacchae, contemporary horror films, Emily Bronte's Wuthering Heights, and a poem by Emily Dickinson.
      Sparagmos is a central theme in Dimitris Lyacos's The First Death, which recounts the torments of a mutilated protagonist stranded on an island. The book draws upon the dismemberment of Dionysus as well as ancient Greek rituals and practices.
      In Eric Gans' Generative Anthropology, sparagmos is a key component of the hypothetical "originary event" marking the birth of human language and culture. It occurs as a violent release of mimetic tension following the first use of a sign, involving the dismemberment and consumption of a central object designated as sacred. This concept integrates sacrificial violence into the theory of language origin, showing how symbolic representation and ritualized action simultaneously express and contain group violence.


      See also


      Cambridge Ritualists
      Life-death-rebirth deity
      Tragedy


      References

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    Sparagmos - Wikipedia

    Sparagmos is a central theme in Dimitris Lyacos's The First Death, which recounts the torments of a mutilated protagonist stranded on an island. The book draws upon the dismemberment of Dionysus as well as ancient Greek rituals and practices.

    Omophagia - Wikipedia

    Omophagia, or omophagy (from Greek ωμός "raw") is the eating of raw flesh. The term is of importance in the context of the cult worship of Dionysus. Omophagia is a large element of Dionysiac myth; in fact, one of Dionysus' epithets is Omophagos "Raw-Eater". [1] .

    The Ancient Festivals Of Dionysus In Athens: ‘Euhoi Bacchoi’

    Apr 25, 2021 · A sparagmos rite, the ritual dismemberment of a sacrificial animal, took place once the procession was completed. The sparagmos also has its foundations in the mythology of the god, like many other Dionysiac rituals.

    What does sparagmos mean? - Definitions.net

    Sparagmos is an act of rending, tearing apart, or mangling, usually in a Dionysian context. In Dionysian rite as represented in myth and literature, a living animal, or sometimes even a human being, is sacrificed by being dismembered. Sparagmos was frequently followed by omophagia.

    Maenads :: The Frenzied Female Followers of Dionysus - Greek …

    One of the most controversial practices attributed to the Maenads is sparagmos, the tearing apart of live animals, followed by omophagia, the consumption of raw flesh. This act symbolized the dissolution of boundaries between humans and nature, life and death, and was thought to allow the Maenads to absorb the vital essence of the god himself.

    Originary Iconoclasm: The Logic of Sparagmos - Anthropoetics

    Oct 2, 2018 · The sparagmos is the model for iconoclasm, but it is also the model for sacrifice and popular, sacrificial modes of art. The key difference is that iconoclastic art is self-conscious and negates itself rather than simply purging resentment by means of a convenient scapegoat.

    sparagmos, n. meanings, etymology and more - Oxford English …

    What does the noun sparagmos mean? There is one meaning in OED's entry for the noun sparagmos . See ‘Meaning & use’ for definition, usage, and quotation evidence.

    SPARAGMOS Definition & Meaning | Dictionary.com

    the tearing to pieces of a live victim, as a bull or a calf, by a band of bacchantes in a Dionysian orgy. Get the Word of the Day every day! By clicking "Sign Up", you are accepting …

    SPARAGMOS definition and meaning | Collins English Dictionary

    SPARAGMOS definition: the tearing to pieces of a live victim , as a bull or a calf , by a band of bacchantes in... | Meaning, pronunciation, translations and examples

    Chapter 13. Euripides: Sparagmos of an Iconoclast - The Center …

    But Euripides’ sparagmos still has a significant mythic power, as its widespread popularity shows. Euripides, predictably, is given great honor after his death: Sophocles appears at the theater dressed in black and has his actors perform crownless; and now the Athenians weep (20).