Pindar's Twelfth Pythian: Reed and Bronze

Clay, Jenny Strauss

doi:10.2307/295537

Cited by 7 publications

(4 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…1), followed by Burton (1962:29), Schlesinger (1968:277), and Papadopoulou-Pirenne-Delforge (2001), proposes that ἄυσεν applies to Perseus and means 'to shout in triumph' . Clay (1992) concurs with the same interpretation, but makes the case that Perseus shouts when he petrifies the people of Seriphus. Segal (1995:15-16), followed by Steiner (2013:185), reads ἄυσεν, 'he shouted' , and argues that Perseus shouts as he kills Medusa.…”

Section: 2supporting

confidence: 59%

“…Here, the hyperbaton occurs at the beginning of the mythological digression about Perseus and the Gorgons. Clay (1992), followed by Segal (1995:12), Papadopoulou-Pirenne-Delforge (2001), Martin (2003) and Phillips (2013), argues that διαπλέκω means to 'interweave'24 in the light of hh 4.79-80, σάνδαλα … διέπλεκε "interwove [recte wove] sandals" and N. 7.98-99 βίοτον … διαπλέκοις "[that] you may interweave [recte weave] a life". According to this interpretation, Athena would be interweaving Euryale's lament and Perseus' cry of victory (cf.…”

Section: (θρῆνον) διαπλέξαισ᾽mentioning

confidence: 99%

See 1 more Smart Citation

Pindar’s <i>Pythian Twelve</i>: A Linguistic Commentary and a Comparative Study

Massetti

2024

View full text Add to dashboard Cite

This is an open access title distributed under the terms of the cc by-nc 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc/4.0/ The terms of the cc license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder.Publication of this volume was generously sponsored by the hkbu Jao Tsung-I Academy of Sinology-Amway Development Fund.This book was produced in the framework of the project The Lords of the Rings: A Comparative Lens on Ring-Compositions of Greek Lyric Poetry (msca 0000083-project loracola) funded through the program "next Generation eu, nrrp m4c2" (cup c61b 22002760001).

show abstract

Section: 2supporting

confidence: 59%

Section: (θρῆνον) διαπλέξαισ᾽mentioning

confidence: 99%

Pindar’s <i>Pythian Twelve</i>: A Linguistic Commentary and a Comparative Study

Massetti

2024

View full text Add to dashboard Cite

show abstract

“…33 This process is reinforced at the musical level by the musicality of the aulos in performance, whose sound is a mediated, partial representation of its mythical antecedent; there is clearly a difference, as well as a similarity, between the aulos to which an audience listens and the Gorgons' lament. If we accept the argument that Athena's 'weaving' (8) of the Gorgons' threnos also combines it with the cry of victory uttered by Perseus at 11, 34 then Athena's mimesis is dramatized as a mode of combination and reconfiguration, wherein each of the elements, the lament and the victory cry, contributes to a whole that is different from either of them individually. The poem enacts mimesis as simultaneously a presencing and a displacement, as a practice which makes a cultural event available and also dramatizes its otherness.…”

Section: Music and Textmentioning

confidence: 99%

EPINICIAN VARIATIONS: MUSIC AND TEXT IN PINDAR,PYTHIANS2 AND 12

Phillips¹

2013

The Class. Q.

View full text Add to dashboard Cite

The importance of music for epinician, as for all other types of choral performance in Archaic and Classical Greece, has long been recognized, but the exiguousness of the evidence for the compositional principles behind such music, and for what these poems actually sounded like in performance, has limited scholarly enquiries. Examination of Pindar's texts themselves for evidence of his musical practices was for a long time dominated by extensive and often inconclusive debate about the relations between metres and modes. More recently scholars have begun to explore Pindar's relations to contemporary developments in musical performance, and in doing so have opened up new questions about how music affected audiences as aesthetically and culturally significant in its own right, and how it interacted with the language of the text. This article will investigate the performance scenarios of two of Pindar's epinicians, arguing that in each case the poems contain indications of specific musical accompaniments, and use these scenarios as a starting point for engaging with wider interpretative questions. The self-referential dimension of these compositions will be of particular importance; I shall argue that Pindar deployed a type of musical intertextuality, in which his compositions draw on pre-existing melodic structures, utilizing their cultural associations for the purposes of his own pieces, a process crucial to the dynamics of performance of the poems concerned. By doing so I shall attempt to reach a better understanding of the roles played by music in epinician performance and of Pindar's place in relation to the musical culture in which he worked.

show abstract

“…Клэй (Clay 1992: 523) и Б. Джентили (Gentili 1995: 674) рассматривать δυσπενθέϊ σὺν καμάτῳ в составе главного предложения, относя его к причастию λειβόμενον, то это выражение оказывается не харак-теристикой действий Персея, а характеристикой плача, произ-водимого горгоньими головами и змеиными головками их волос. В этом случае комментаторы и исследователи по-иному воспринимают и семантику интересующего нас сочетания.…”

unclassified

Pindar’s Twelfth Pythian: Gorgonsisters and Auletics

Akhunova¹

2018

IELCP

View full text Add to dashboard Cite

Pindar's Twelfth Pythian: Reed and Bronze

Cited by 7 publications

References 0 publications

Pindar’s <i>Pythian Twelve</i>: A Linguistic Commentary and a Comparative Study

Pindar’s <i>Pythian Twelve</i>: A Linguistic Commentary and a Comparative Study

EPINICIAN VARIATIONS: MUSIC AND TEXT IN PINDAR,PYTHIANS2 AND 12

Pindar’s Twelfth Pythian: Gorgonsisters and Auletics

Contact Info

Product

Resources

About