The triumph of Love and Elegy by Lucia Athanassaki
Reading the Victory Ode, P. Agocs, C. Carey, R. Rawles (edd.), 2012
Marathon. The Day After. Symposium Proceedings, Delphi 2-4 July 2010, Apr 2013
Approaches to Archaic Greek Poetry (edd. Xavier Riu & Jaume Portulas) Messina (Orione) 2012
Warmest thanks to Xavier riu for his invitation to Barcelona, his input and his editorial care; t... more Warmest thanks to Xavier riu for his invitation to Barcelona, his input and his editorial care; to the director of the national archaeological Museum of athens, nikolaos Kaltsas, for the kwmo" photographs and the permission to reproduce them; to peter agócs, ewen Bowie, angelos chaniotis, Jonah rosenberg, dimos spatharas and the two anonymous readers for helpful comments and suggestions on this version. 1 For pindar's indifference to ephemeral details see slater 1984, 241.
Donum natalicium digitaliter confectum Gregorio Nagy septuagenario a discipulis collegis familiaribus oblatum
Can studies in deixis and narratology engage in fruitful dialog? Deixis and narratology share an ... more Can studies in deixis and narratology engage in fruitful dialog? Deixis and narratology share an interest in the fundamental questions of time, place, and person. 1 Their take on these issues is different, but points of contact obviously exist. In what follows I will discuss one promising aspect of interaction, namely the interpretative advantage of introducing the narrative category of frequency in the study of the nexus of deictic indications that delineate performance contexts. Pindar's First Pythian will serve as my test case, but in the course of my discussion I will adduce parallels from a number of other songs that illustrate the advantages of the dialog between the two interpretative approaches for questions of performance.
Archaic and Classical Choral Song: …, Jan 1, 2011
On the basis of more than four thousand ostraca that have been found in the Ceramicus, it is fair... more On the basis of more than four thousand ostraca that have been found in the Ceramicus, it is fair to say that Megacles, true to his ancestral modus vivendi, did not keep a low profile in Athens. He was ostracised most probably twice: first in 487 and then in 471. 1 The ostraca that reflect the annoyance of a great number of his fellow-citizens with his ostentatious lifestyle belong to his second ostracism, but the reasons for the first were probably similar if not the same. 2 Horse-breeding, trendy hair-style, adultery, greed for money, arrogant extravagance and the Cylonian hereditary curse are the reasons that some Athenians made a point of recording on the potsherds in order to justify their verdict. 3
Horace and Greek Lyric Poetry. Rethymnon, Jan 1, 2002
The Classical Journal, Jan 1, 1993
Harvard Studies in Classical Philology, Jan 1, 2003
Materiali e discussioni per l'analisi dei testi classici, Jan 1, 1992
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The triumph of Love and Elegy by Lucia Athanassaki
The purpose of the 2017 colloquium (27–30 April) and the graduate seminar that Frances Titchener and I team-taught along with other faculty members at Rethymnon during the spring-term of that year was to explore ritual in Plutarch’s works by asking a series of questions, specifically: how Plutarchan representations of rituals contribute to the characterization of individuals and/or communities? What do they tell us about the way individuals relate to their peers or to their community
at large and/or the ways cities or other forms of community relate to one
another? How do rituals interact with politics (personal and communal, local and inter-state)? How do they affect individual and communal identities?
The second part explores Plutarch’s representation of Nicias’ exploitation of the performative and communicative nature of ritual as it emerges from four key episodes: (a) his decision to free one of his servants in the theatre of Dionysus on the spur of the moment; (b) his innovative improvement on the Athenian theoria to Delos as architheoros; (c) his striking provision to worship the Delian god(s) in
perpetuity and (d) his daily private sacrifice and divination at home in Athens. Taking into account the persistent emphasis on Nicias’ fear of gods and men throughout the Life, it is argued that these four episodes show that ritual offered Nicias an outlet for coping with his fear of men without abandoning his political ambitions.
sponsors. Since much has been written on the relationship of epinician
poets with their patrons, this paper broadens the focus of enquiry to
include other melic genres and, in addition to the verbal, to look at the
visual arts as well, i.e. melic representations of communities that sponsor songs and of communities or individuals that sponsor other art-forms such as sculpture, architecture, and precious objects. Taking as starting point Xenophon’s depiction of Simonides in Hiero, I discuss epigrams XXVII and XXVIII Page and relevant testimonia that show Simonides’ keen interest in Athenian dithyrambic contests; Bacchylides’ Ode 19, probably composed for the Great Dionysia; Pindar’s Pythian 7, Paean 8, and fragment 3 in conjunction with Homeric Hymn to Apollo 281-99, Herodotus 1.31, Cicero, De oratore 2. 86. 352-353, [Plutarch] Consolatio ad Apollonium, and Pausanias – all of which offer precious insights into Pindar’s views on sponsoring monumental sculpture and architecture; and Bacchylides’ description of the golden tripods that Hieron offered to Apollo in Ode 3. On the basis of this evidence I argue that whatever the nature and the range of remuneration of poets and artists may have been, melic rhetoric shows that it was the relationship of poets, artists and their sponsors with the gods that was ultimately at stake. This is why both the poetry and the traditions about Simonides, Pindar and Bacchylides privilege the divine favour that poets, artists and patrons alike either obtained or were hoping to obtain by offering masterpieces to the gods.
Η συζήτηση πραγματοποιήθηκε με αφορμή την κυκλοφορία του βιβλίου «Μεθοδολογικά ζητήματα στις Κλασικές Σπουδές: παλαιά προβλήματα και νέες προκλήσεις» που κυκλοφόρησε από τους διοργανωτές, στη σειρά της Φιλολογίας, σε επιμέλεια της Μελίνας Ταμιωλάκη.
Οι Κλασικές Σπουδές αποτελούν ένα ευρύτατο πεδίο που περιλαμβάνει πολλές επιστήμες (φιλολογία, ιστορία, επιγραφική, αρχαιολογία κλπ.). Η μεθοδολογία για αυτές τις επιστήμες είναι πολύ παλιά, καθώς ανάγεται ήδη στους ελληνιστικούς χρόνους και στους πρώτους φιλολόγους της Αλεξάνδρειας. Από τότε πολλά έχουν αλλάξει. Τα τελευταία χρόνια τίθεται όλο και πιο επιτακτικά το ζητούμενο να ανανεωθούν οι μεθοδολογικές προσεγγίσεις στο πεδίο των Κλασικών Σπουδών. Οι ομιλητές συζητούν τόσο για τη χρησιμότητα των παλαιών μεθόδων, όσο και για τη σημασία των νέων μεθοδολογικών προσεγγίσεων, που είναι ως επί το πλείστον διεπιστημονικές και μπορούν επίσης να ανταποκρίνονται σε σύγχρονους προβληματισμούς.
Ομιλητές: Λουκία Αθανασάκη, Μελίνα Ταμιωλάκη, Δημήτρης Κυρτάτας, Γιάννης Κωνσταντάκος, Νίκος Μήλτσιος.
. It continues with thirteen scholarly essays that respond to Clay’s main scholarly interests. Nancy Felson, Lucia Athanassaki, Zoe Stamatopoulou, David Kovacs, Athanassios Vergados, Thomas K. Hubbard, Anatole Mori, Benjamin Jasnow, Daniel Barber, Blanche Conger McCune, Stephen C. Smith, Christopher Nappa, and John F. Miller explore a wide range of aspects of the representation and interaction of gods and mortals in Greek and Latin poetry, topics to which Jenny Strauss Clay has repeatedly come back.