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Andrew Ford

Princeton University, Classics, Faculty Member

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Papers by Andrew Ford

THE FUNCTION OF CRITICISM AT THE PRESENT TIME (432 BC

Poetica , 2014, Vol. 46, No. 1/2 (2014), pp. 17-39, 2014

Plato's Protagoras is a unique text in the history of criticism, the only extended example of pra... more Plato's Protagoras is a unique text in the history of criticism, the only extended example of practical poetic criticism that we have from classical Greece. This long passage (338e-347c) shows a group of fifth-century intellectual luminaries debating the meaning of a dense lyric poem by Simonides: the text is quoted at length and its language examined closely and methodically - and wildly. My paper first attempts to pinpoint how this passage - often written off as a parody or a joke or misunderstood as a simplistic polemic against 'sophistry' - fits into the work. I argue that Plato is more serious here than is usually supposed, and that the passage gives his best account of the uses and limits of literary criticism. In a coda, I consider an analysis of the passage by Glenn Most and suggest that the role of memory in interpretation is overlooked in academic criticism.

Catharsis, Music, and the Mysteries in Aristotle

Of the many meanings of katharsis available to Aristotle, two have predominated in scholarly atte... more Of the many meanings of katharsis available to Aristotle, two have predominated in scholarly attempts to say what the word means in the Poetics when “the katharsis of pity and fear produced by pity and fear” is defined as the aim of tragedy. The past thirty years have seen a concerted effort among scholars of the Poetics to overturn Jacob Bernays’ appeal to Aristotle’s use of katharsis in his Politics (1342a10-11) with its medical meaning of ‘purgation’ as the basis of his theory that tragedy provides a harmless ‘outlet’ for emotions; against this, Plato’s notion of intellectual ‘purification’ as a kind of katharsis has been invoked to argue that the workings of the tragic art were fundamentally cognitive and resulted in the ethical ‘clarification’ of the audience. The present essay proposes that Aristotle’s theory of tragedy was deeply informed by another meaning of the word in his day: the ecstatic release provided by certain mystery cults. After underlining Aristotle’s familia...

7 Plato ’ s two Hesiods

Friedrich Solmsen’s path-breaking study of Hesiod’s influence on Plato focused on ‘motifs’ common... more Friedrich Solmsen’s path-breaking study of Hesiod’s influence on Plato focused on ‘motifs’ common to the two authors. Concerned to bring out the ‘threads of continuity’ in their ethical thought, Solmsen explicitly set aside the evidence of quotation, explaining that ‘[b]y and large, Plato is moving on a level of thought on which direct contact with the Hesiodic legacy could serve little purpose’ (Solmsen 1962: 179). There is no doubt that Plato found Hesiod ‘good to think with’ in a general way, but the evidence of his quotations of the poet is surely worth looking at as well. The present study is one of several in this volume to take up this material, which heretofore has been studied principally for text-critical reasons (Howes 1895). My concern will be to understand a simple pattern in the evidence: of the fifteen occasions on which Plato quotes specific Hesiodic lines or phrases (as against 146 quotations from Homer), fourteen come from the Works and Days; the Theogony is quoted...

Mythographic Discourse among non- Mythographers: Pindar’s Ol. 1, Plato’s Phaedrus and Callimachus’ Hymn to Zeus

Host or Parasite? Mythographers and their Contemporaries in the Classical and Hellenistic Periods Edited by Allen J. Romano and John Marincola, 2019

Arguing that mythography was already a recognizable mode of discourse in the early fifth century... more

Linus: The Rise and Fall of Lyric Genres

Genre in Archaic and Classical Greek Poetry: theories and models. Edd. M. Forster, L. Kurke, N. Weiss 􏱂􏰂􏰁􏰡􏰂 􏰦􏰁 􏰯􏰡􏰢􏰠􏰬􏰦􏰢 􏰬􏰁􏰝 􏰣􏰊􏰬􏰅􏰅􏰦􏰢􏰬􏰊 􏱂􏰡􏰂􏰂􏰷 􏰥􏰄􏰂􏰋􏰡􏰆􏱃 􏰸􏰠􏰂􏰄􏰡􏰦􏰂􏰅 􏰬􏰁􏰝 􏰀􏰄􏰝􏰂􏰊􏰅 􏰇􏰉􏰟􏰢􏰠􏰝􏰄 􏰠􏰩 􏰯􏰁􏰞􏰶􏰬􏰠􏰞 􏰬􏰩􏰢 􏰣􏰭􏰬􏰄􏰄􏰠􏰞􏰬􏰭 􏱂􏰁􏰝􏰝􏱄 􏰇􏰊􏰩􏱅􏰱 􏱆􏰊􏰭􏱀 􏱇 􏰜􏰢􏰠􏰉􏰝􏰢 􏰿􏰈 􏰀􏰬􏰡􏰶􏰬􏰡􏰂􏰋 􏰵􏰄􏰅􏰋􏰂􏰡 􏰨􏰂􏰅􏰊􏰦􏰂 􏰲􏰈􏰡􏰷􏰂 􏱈􏰬􏰄􏰃􏰦 􏱉􏰂􏰦􏰅􏰅, 2019

An overview that sets current approaches to Greek poetic genres in a history that begins with Pl... more An overview that sets current approaches to Greek poetic genres in a history that begins with Plato and Aristotle and is transformed in the 18th-century reconceptualization of lyric. A case study of Homer's representation of the Linus song supports the claim that a flexible, genre-aware criticism often illuminates archaic and classical Greek poetic texts.

The Purpose of Aristotle's Poetics

Katharsis: The Ancient Problem

Performativity and Performance, Jan 1, 1995

Whether one regards the scholarship on katharsis as "a grotesque monument of sterility" or as "th... more Whether one regards the scholarship on katharsis as "a grotesque monument of sterility" or as "the Mt Everest . . . that looms on all literary horizons," 1 there can be little doubt that it has cast a nearly impenetrable shadow over a word that is, after all, barely mentioned in one of Aristotle's briefer and more peripheral treatises. But this academic overkill 2 at least makes clear that at this stage of the game it would be naïve to hope to settle the meaning of katharsis once for all. Accordingly, although I strongly prefer a particular minority interpretation, I do not expect to end the long-standing debate. Instead, I will leave the modern search for a solution open and turn to a different question which I call the ancient problem. By this I mean Aristotle's problem: What needs in his poetic theory required that he insert this word into his definition of tragedy and then more or less drop it? What larger requirements of his systematic philosophy made him posit katharsis as the answer to what questions? The ancient problem with katharsis as I define it is thus not its meaning in the Poetics--which Aristotle must have thought transparent. Nor is it precisely the problem that is named by katharsis--the special appeal of

The Poetics of Dithyramb (proofs)

An examination of the reception of classical dithyramb taking up the question of its possible rel... more

"The Genre of Genres: Paean and paian in early Greek poetry"

“’A Song to Match my Song’: Lyric Doubling in Euripides’ Helen.”

A close reading of the songs in "Helen" to argue that in them Euripides imagines the origins of c... more

"From Letters to Literature: Reading the song culture of Classical Greece."

An attempt to establish a "neo-Havelockian" position on the question of how technologies of readi... more

"Plato's Two Hesiod's"

Reception of the two Hesiodic poems was distinct in the classical period.

The origins of criticism. Ch. 1

S K E N È Journal of Theatre and Drama Studies

A ritual frame for Aristotelian katharsis is more relevant to drama than the prevalent medical or... more

Herodotus and the Poets

SSRN Electronic Journal, 2000

Performance, Text, and the History of Criticism

Oxford Handbook of Hellenic Studies, 2000

Dionysos’ Many Names in Aristophanes’ Frogs

Dionysos and Ancient Polytheism, 2011

God of many names", poku~mule, is the first word of Sophocles' famous hymn invoking Dionysos in t... more God of many names", poku~mule, is the first word of Sophocles' famous hymn invoking Dionysos in the Antigone (1115). Richard Jebb comments that the epithet is "peculiarly suitable to Dionysus, owing to the manner in which his cult was interwoven with other cults […]. Dionysus was distinctively polueidÞs kai polumorphos (Plutarch Mor. 389c)". One might leave the matter at that; it seems logical that the god of multiple and shifting identities should also be "many-named". But, if the epithet is suitable, it is hardly specific to Dionysos, for, as Jebb notes, other gods are entitled to be called polyonymos: Apollo, for example, has as many titles without presenting so many contradictory aspects. 1 There is, however, one striking feature of the names for Dionysos to which Sophocles' epithet can be taken to point, and this is a respect in which he was a "different" god. This study will propose that what was distinctive about Dionysos' names was not simply that they were numerous, but that so many of the most powerful ones had lost their meanings in the course of time. To find examples I need go no further than the scholion on this passage, which explains polyonyme by saying "for some call him Bakchos, others Iakchos, Lyaios, or Euios and others Dithyrambos": of these five names, only lyaios is readily intelligible in Greek. 2 Henk Versnel's Triumphus has given a rich survey of such Dionysian epikleseis from the point of view of the history of religion. 3 My concern is literary, to bring out the fact that the god's obscure titles could provoke poets composing songs to him and provide them with special expressive possibilities. Now the fact that Dionysos was feted with archaic cries and calls with no obvious meaning might again seem easily comprehensible: Dionysos is bromios, the "noisy" one, and it is reasonable that his names should sometimes stress sound over sense. And for poets, this semantic underdetermination might have been compensated for by the fact that a multiplicity of names facilitates 1 The rich variety of Dionysian epithets can be illustrated by pointing to Anth. Pal. 9.524, an alphabetic epigram that fills 24 verses with his titles; but note that 9.525 executes the same trick with Apollo. 2 Diodorus Siculus (4.5.1-2) explains a number of Dionysos' obscurer epithets (bakcheios, lenaios, bromios, pyrigenes and thriambos) before breaking off with a recusatio because the names are too many (peq•mlajq¹m #me U gk]ceim). Similarly, Cornutus Graec. 59. 3 Versnel (1970) 16-38.

Literary Criticism and the Poet's Autonomy: from A Companion to Ancient Aesthetics, edd. Pierre Destree, Penelope Murray (Wiley, 2015), pp. 143-57

The fact that the term " aesthetics " was only introduced into philosophic discourse by Alexander... more The fact that the term " aesthetics " was only introduced into philosophic discourse by Alexander Baumgarten in 1735 is regarded by some historians of the subject as a sign that the ancient Greeks were not much interested in questions about the nature of beauty and the arts. (For them, ta aisthêtika would have suggested sense perception in general.) Other historians treat this fact as a factoid, a historical curiosity that need not stand in the way of assuming that the ancients responded to works of art in ways much like ourselves and confronted the same problems as we do when we try to think about beauty and art. The problem with this reasonable assumption is that it is hard to amass many actual texts that deal directly with the subject: most ancient discussions of issues we would define as aesthetic are embedded in works devoted to quite other topics, especially politics, ethics, or metaphysics. Thus Kristeller's much‐quoted denial that the ancients had anything comparable to modern aesthetics remains a challenge: " ancient writers and thinkers, though confronted with excellent works of art and quite susceptible to their charm, were neither able nor eager to detach the aesthetic quality of these works of art. " 1 The present chapter hopes to throw light on this question by turning from the Greeks' philosophies of art to their literary criticism. The daily, practical business of commenting on poems, interpreting them, and evaluating them implied the existence of standards for evaluating literature. This was especially so in the " agonistic " musical culture of the Greeks, which regularly set one poem against another in a competition to see which was the " finest " (kallistos: Ford 2002, 272–293). Already in the Archaic period, the most prestigious performances of Homeric epic took the form of competitions among professional reciters (rhapsôidoi), and the Athenian contests in tragic, comic, and dithyrambic poetry are well known; amateurs exchanging songs at drinking parties often turned to singing games. All such events raised the question, whether explicitly or implicitly, of what criteria to use when declaring one poem " finest " of all. I propose to study closely two texts from Classical Athens in which the question of standards is discussed. The pair is notable for suggesting that works of verbal art ought to be judged on their own terms. Taken together and set in context, the texts suggest that, in practice if not always in theory, the ancients recognized an aesthetic dimension to literature to a far greater extent than is sometimes allowed. In criticism, the possibility of a literary aesthetics emerges most clearly in the question of whether poets have any autonomy in the sense of immunity to certain kinds of objections

ΣΩKPATIKOI ΛOΓOI in Aristotle and Fourth-Century Theories of Genre

Classical Philology, 2010

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact

L'inventeur de la pésie lyrique: Archiloque le Colon

Metis, 1993

THE FUNCTION OF CRITICISM AT THE PRESENT TIME (432 BC

Poetica , 2014, Vol. 46, No. 1/2 (2014), pp. 17-39, 2014

Plato's Protagoras is a unique text in the history of criticism, the only extended example of pra... more Plato's Protagoras is a unique text in the history of criticism, the only extended example of practical poetic criticism that we have from classical Greece. This long passage (338e-347c) shows a group of fifth-century intellectual luminaries debating the meaning of a dense lyric poem by Simonides: the text is quoted at length and its language examined closely and methodically - and wildly. My paper first attempts to pinpoint how this passage - often written off as a parody or a joke or misunderstood as a simplistic polemic against 'sophistry' - fits into the work. I argue that Plato is more serious here than is usually supposed, and that the passage gives his best account of the uses and limits of literary criticism. In a coda, I consider an analysis of the passage by Glenn Most and suggest that the role of memory in interpretation is overlooked in academic criticism.

Catharsis, Music, and the Mysteries in Aristotle

Of the many meanings of katharsis available to Aristotle, two have predominated in scholarly atte... more Of the many meanings of katharsis available to Aristotle, two have predominated in scholarly attempts to say what the word means in the Poetics when “the katharsis of pity and fear produced by pity and fear” is defined as the aim of tragedy. The past thirty years have seen a concerted effort among scholars of the Poetics to overturn Jacob Bernays’ appeal to Aristotle’s use of katharsis in his Politics (1342a10-11) with its medical meaning of ‘purgation’ as the basis of his theory that tragedy provides a harmless ‘outlet’ for emotions; against this, Plato’s notion of intellectual ‘purification’ as a kind of katharsis has been invoked to argue that the workings of the tragic art were fundamentally cognitive and resulted in the ethical ‘clarification’ of the audience. The present essay proposes that Aristotle’s theory of tragedy was deeply informed by another meaning of the word in his day: the ecstatic release provided by certain mystery cults. After underlining Aristotle’s familia...

7 Plato ’ s two Hesiods

Friedrich Solmsen’s path-breaking study of Hesiod’s influence on Plato focused on ‘motifs’ common... more Friedrich Solmsen’s path-breaking study of Hesiod’s influence on Plato focused on ‘motifs’ common to the two authors. Concerned to bring out the ‘threads of continuity’ in their ethical thought, Solmsen explicitly set aside the evidence of quotation, explaining that ‘[b]y and large, Plato is moving on a level of thought on which direct contact with the Hesiodic legacy could serve little purpose’ (Solmsen 1962: 179). There is no doubt that Plato found Hesiod ‘good to think with’ in a general way, but the evidence of his quotations of the poet is surely worth looking at as well. The present study is one of several in this volume to take up this material, which heretofore has been studied principally for text-critical reasons (Howes 1895). My concern will be to understand a simple pattern in the evidence: of the fifteen occasions on which Plato quotes specific Hesiodic lines or phrases (as against 146 quotations from Homer), fourteen come from the Works and Days; the Theogony is quoted...

Mythographic Discourse among non- Mythographers: Pindar’s Ol. 1, Plato’s Phaedrus and Callimachus’ Hymn to Zeus

Host or Parasite? Mythographers and their Contemporaries in the Classical and Hellenistic Periods Edited by Allen J. Romano and John Marincola, 2019

Arguing that mythography was already a recognizable mode of discourse in the early fifth century... more

Linus: The Rise and Fall of Lyric Genres

Genre in Archaic and Classical Greek Poetry: theories and models. Edd. M. Forster, L. Kurke, N. Weiss 􏱂􏰂􏰁􏰡􏰂 􏰦􏰁 􏰯􏰡􏰢􏰠􏰬􏰦􏰢 􏰬􏰁􏰝 􏰣􏰊􏰬􏰅􏰅􏰦􏰢􏰬􏰊 􏱂􏰡􏰂􏰂􏰷 􏰥􏰄􏰂􏰋􏰡􏰆􏱃 􏰸􏰠􏰂􏰄􏰡􏰦􏰂􏰅 􏰬􏰁􏰝 􏰀􏰄􏰝􏰂􏰊􏰅 􏰇􏰉􏰟􏰢􏰠􏰝􏰄 􏰠􏰩 􏰯􏰁􏰞􏰶􏰬􏰠􏰞 􏰬􏰩􏰢 􏰣􏰭􏰬􏰄􏰄􏰠􏰞􏰬􏰭 􏱂􏰁􏰝􏰝􏱄 􏰇􏰊􏰩􏱅􏰱 􏱆􏰊􏰭􏱀 􏱇 􏰜􏰢􏰠􏰉􏰝􏰢 􏰿􏰈 􏰀􏰬􏰡􏰶􏰬􏰡􏰂􏰋 􏰵􏰄􏰅􏰋􏰂􏰡 􏰨􏰂􏰅􏰊􏰦􏰂 􏰲􏰈􏰡􏰷􏰂 􏱈􏰬􏰄􏰃􏰦 􏱉􏰂􏰦􏰅􏰅, 2019

An overview that sets current approaches to Greek poetic genres in a history that begins with Pl... more An overview that sets current approaches to Greek poetic genres in a history that begins with Plato and Aristotle and is transformed in the 18th-century reconceptualization of lyric. A case study of Homer's representation of the Linus song supports the claim that a flexible, genre-aware criticism often illuminates archaic and classical Greek poetic texts.

The Purpose of Aristotle's Poetics

Katharsis: The Ancient Problem

Performativity and Performance, Jan 1, 1995

Whether one regards the scholarship on katharsis as "a grotesque monument of sterility" or as "th... more Whether one regards the scholarship on katharsis as "a grotesque monument of sterility" or as "the Mt Everest . . . that looms on all literary horizons," 1 there can be little doubt that it has cast a nearly impenetrable shadow over a word that is, after all, barely mentioned in one of Aristotle's briefer and more peripheral treatises. But this academic overkill 2 at least makes clear that at this stage of the game it would be naïve to hope to settle the meaning of katharsis once for all. Accordingly, although I strongly prefer a particular minority interpretation, I do not expect to end the long-standing debate. Instead, I will leave the modern search for a solution open and turn to a different question which I call the ancient problem. By this I mean Aristotle's problem: What needs in his poetic theory required that he insert this word into his definition of tragedy and then more or less drop it? What larger requirements of his systematic philosophy made him posit katharsis as the answer to what questions? The ancient problem with katharsis as I define it is thus not its meaning in the Poetics--which Aristotle must have thought transparent. Nor is it precisely the problem that is named by katharsis--the special appeal of

The Poetics of Dithyramb (proofs)

An examination of the reception of classical dithyramb taking up the question of its possible rel... more

"The Genre of Genres: Paean and paian in early Greek poetry"

“’A Song to Match my Song’: Lyric Doubling in Euripides’ Helen.”

A close reading of the songs in "Helen" to argue that in them Euripides imagines the origins of c... more

"From Letters to Literature: Reading the song culture of Classical Greece."

An attempt to establish a "neo-Havelockian" position on the question of how technologies of readi... more

"Plato's Two Hesiod's"

Reception of the two Hesiodic poems was distinct in the classical period.

The origins of criticism. Ch. 1

S K E N È Journal of Theatre and Drama Studies

A ritual frame for Aristotelian katharsis is more relevant to drama than the prevalent medical or... more

Herodotus and the Poets

SSRN Electronic Journal, 2000

Performance, Text, and the History of Criticism

Oxford Handbook of Hellenic Studies, 2000

Dionysos’ Many Names in Aristophanes’ Frogs

Dionysos and Ancient Polytheism, 2011

God of many names", poku~mule, is the first word of Sophocles' famous hymn invoking Dionysos in t... more God of many names", poku~mule, is the first word of Sophocles' famous hymn invoking Dionysos in the Antigone (1115). Richard Jebb comments that the epithet is "peculiarly suitable to Dionysus, owing to the manner in which his cult was interwoven with other cults […]. Dionysus was distinctively polueidÞs kai polumorphos (Plutarch Mor. 389c)". One might leave the matter at that; it seems logical that the god of multiple and shifting identities should also be "many-named". But, if the epithet is suitable, it is hardly specific to Dionysos, for, as Jebb notes, other gods are entitled to be called polyonymos: Apollo, for example, has as many titles without presenting so many contradictory aspects. 1 There is, however, one striking feature of the names for Dionysos to which Sophocles' epithet can be taken to point, and this is a respect in which he was a "different" god. This study will propose that what was distinctive about Dionysos' names was not simply that they were numerous, but that so many of the most powerful ones had lost their meanings in the course of time. To find examples I need go no further than the scholion on this passage, which explains polyonyme by saying "for some call him Bakchos, others Iakchos, Lyaios, or Euios and others Dithyrambos": of these five names, only lyaios is readily intelligible in Greek. 2 Henk Versnel's Triumphus has given a rich survey of such Dionysian epikleseis from the point of view of the history of religion. 3 My concern is literary, to bring out the fact that the god's obscure titles could provoke poets composing songs to him and provide them with special expressive possibilities. Now the fact that Dionysos was feted with archaic cries and calls with no obvious meaning might again seem easily comprehensible: Dionysos is bromios, the "noisy" one, and it is reasonable that his names should sometimes stress sound over sense. And for poets, this semantic underdetermination might have been compensated for by the fact that a multiplicity of names facilitates 1 The rich variety of Dionysian epithets can be illustrated by pointing to Anth. Pal. 9.524, an alphabetic epigram that fills 24 verses with his titles; but note that 9.525 executes the same trick with Apollo. 2 Diodorus Siculus (4.5.1-2) explains a number of Dionysos' obscurer epithets (bakcheios, lenaios, bromios, pyrigenes and thriambos) before breaking off with a recusatio because the names are too many (peq•mlajq¹m #me U gk]ceim). Similarly, Cornutus Graec. 59. 3 Versnel (1970) 16-38.

Literary Criticism and the Poet's Autonomy: from A Companion to Ancient Aesthetics, edd. Pierre Destree, Penelope Murray (Wiley, 2015), pp. 143-57

The fact that the term " aesthetics " was only introduced into philosophic discourse by Alexander... more The fact that the term " aesthetics " was only introduced into philosophic discourse by Alexander Baumgarten in 1735 is regarded by some historians of the subject as a sign that the ancient Greeks were not much interested in questions about the nature of beauty and the arts. (For them, ta aisthêtika would have suggested sense perception in general.) Other historians treat this fact as a factoid, a historical curiosity that need not stand in the way of assuming that the ancients responded to works of art in ways much like ourselves and confronted the same problems as we do when we try to think about beauty and art. The problem with this reasonable assumption is that it is hard to amass many actual texts that deal directly with the subject: most ancient discussions of issues we would define as aesthetic are embedded in works devoted to quite other topics, especially politics, ethics, or metaphysics. Thus Kristeller's much‐quoted denial that the ancients had anything comparable to modern aesthetics remains a challenge: " ancient writers and thinkers, though confronted with excellent works of art and quite susceptible to their charm, were neither able nor eager to detach the aesthetic quality of these works of art. " 1 The present chapter hopes to throw light on this question by turning from the Greeks' philosophies of art to their literary criticism. The daily, practical business of commenting on poems, interpreting them, and evaluating them implied the existence of standards for evaluating literature. This was especially so in the " agonistic " musical culture of the Greeks, which regularly set one poem against another in a competition to see which was the " finest " (kallistos: Ford 2002, 272–293). Already in the Archaic period, the most prestigious performances of Homeric epic took the form of competitions among professional reciters (rhapsôidoi), and the Athenian contests in tragic, comic, and dithyrambic poetry are well known; amateurs exchanging songs at drinking parties often turned to singing games. All such events raised the question, whether explicitly or implicitly, of what criteria to use when declaring one poem " finest " of all. I propose to study closely two texts from Classical Athens in which the question of standards is discussed. The pair is notable for suggesting that works of verbal art ought to be judged on their own terms. Taken together and set in context, the texts suggest that, in practice if not always in theory, the ancients recognized an aesthetic dimension to literature to a far greater extent than is sometimes allowed. In criticism, the possibility of a literary aesthetics emerges most clearly in the question of whether poets have any autonomy in the sense of immunity to certain kinds of objections

ΣΩKPATIKOI ΛOΓOI in Aristotle and Fourth-Century Theories of Genre

Classical Philology, 2010

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact

L'inventeur de la pésie lyrique: Archiloque le Colon

Metis, 1993

Literary Criticism, Early Period

The Homer Encyclopedia, 2011

The Idea of Ancient Literary Criticism

The Classical World, 2002

... 14 As President, Ronald Reagan plagiarized dialogue from his films, which sug-gests either th... more

Critical Moments in Classical Literature: Studies in the Ancient View of Literature and Its Uses (review)

American Journal of Philology, 2010

Book Review:Phrasikleia: An Anthropology of Reading in Ancient Greece Jesper Svenbro, Janet Lloyd

Classical Philology, 1994

Philosophy (M.) Vöhler and (B.) Seidensticker Eds Katharsiskonzeptionen vor Aristoteles: zum kulturellen Hintergrund des Tragödiensatzes. Berlin and New York: Walter de Gruyter, 2007. Pp. xiv + 269. €68. 9783110184334

The Journal of Hellenic Studies, 2009

http://philosophy.missouri.edu/ The Department of Philosophy offers a wide variety of undergradua... more http://philosophy.missouri.edu/ The Department of Philosophy offers a wide variety of undergraduate and graduate courses, including courses on applied ethics, ethical theory, epistemology, logic, metaphysics, philosophy of mind, philosophy of language, philosophy of religion, philosophy of science, philosophy of biology, decision theory, political philosophy, non-Western philosophy, and the history of Western philosophy. The study of philosophy is not only fascinating in its own right but practical too, since it encourages the development of marketable intellectual abilities. These include the abilities to read, think, and write about conceptually complex and abstract material, and to construct and analyze elaborate chains of reasoning. Philosophy majors go on to pursue careers in such fields as law, medicine, business, the non-profit sector, the church, and academia. The department offers BA, BS, MA, and PhD degrees in philosophy, as well as an undergraduate minor and a Certificate in Ethical Theory and Practice.

Oxford Readings in Ancient Literary Criticism by Andrew Laird

Hermathena, 2008

Review of Stephen Halliwell, Between Ecstasy and Truth: Interpretations of Greek Poetics from Homer to Longinus

Review of M. Kivilo, Early Greek Poets' Lives

Review of Taran & Gutas, eds, Aristotle's Poetics, Editio maior

Review of M. L. West, The Making of the Iliad

Review of Leslie Kurke, Aesopic Conversations: Popular Tradition, Cultural Dialogue, and the Invention of Greek Pros