The present volume is the result of a team research which gathered biblical scholars, philologists, and historians of religions, on the issue of the multiple «Interpretations of Moses inherited from the ancient mediterranean cultures. The concrete outcome of this comparative inquiry is the common translation and commentary of the fragments from the works of the mysterious Artapanus. The comparative perspective suggested here is not so much methodological, or thematic. It is first of all an invitation to cross disciplinary boundaries and to take account of the contributions of diverse cultures to the formation of a single mythology, in the case, a Moses mythology. With respect to Judea, Greece, Egypt or Rome, and further more an emerging christianity and its «gnostic counterpart, the figure of Moses is at the heart of a cross-cultural dialogue the pieces of which, if they can be seperated for the confort of their specific study, mostly gain by being put together.

Worshiped throughout the ancient Mediterranean world, the "Mother of the Gods" was known by a variety of names. Among peoples of Asia Minor, where her cult first began, she often shared the names of local mountains. The Greeks commonly called her Cybele, the name given to her by the Phrygians of Asia Minor, and identified her with their own mother goddesses Rhea, Gaia, and Demeter. The Romans adopted her worship at the end of the Second Punic War and called her Mater Magna, Great Mother. Her cult became one of the three most important mystery cults in the Roman Empire, along with those of Mithras and Isis. And as Christianity took hold in the Roman world, ritual elements of her cult were incorporated into the burgeoning cult of the Virgin Mary.

In "Mother of the Gods," Philippe Borgeaud traces the journey of this divine figure through Asia Minor, Greece, and Rome between the sixth century B.C. and the fourth century A.D. He examines how the Mother of the Gods was integrated into specific cultures, what she represented to those who worshiped her, and how she was used as a symbol in art, myth, and even politics. The Mother of the Gods was often seen as a dualistic figure: ancestral and foreign, aristocratic and disreputable, nurturing and dangerous. Borgeaud's challenging and nuanced portrait opens new windows on the ancient world's sophisticated religious beliefs and shifting cultural identities.