Receiving the kwmos: The Context and Performance of Epinician

Heath, Malcolm

doi:10.2307/294578

Cited by 23 publications

(17 citation statements)

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“…the use of the word κῶμος, or the mention of dancing within the poems) to the poems' own performance context: see Heath (1988); Burnett (1989);Carey (1989); Heath and Lefkowitz (1991);Carey (1991);Currie (2004). 33…”

Section: Self-referentiality In Male Choral Songmentioning

confidence: 99%

Visual Imagery in Parthenaic Song

Swift¹

2016

The Look of Lyric: Greek Song and the Visual

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Section: Self-referentiality In Male Choral Songmentioning

confidence: 99%

Visual Imagery in Parthenaic Song

Swift¹

2016

The Look of Lyric: Greek Song and the Visual

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“…pitably, but the komasts insulted him and his daughters, a 63 This aspect of the komos was emphasized in partic-riot broke out, and Lygdamis, the leader of the komasts, ular by Heath (1988) …”

Section: Guy Hedreenmentioning

confidence: 99%

The Return of Hephaistos, Dionysiac Processional Ritual and the Creation of a Visual Narrative

Hedreen

2004

J. Hell. Stud.

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The return of Hephaistos to Olympos, as a myth, concerns the establishment of a balance of power among the Olympian gods. Many visual representations of the myth in Archaic and Classical Greek art give visible form to the same theme, but they do so in a manner entirely distinct from the manner in which it is expressed in literary narratives of the tale. In this paper, I argue that vase-painters incorporated elements of Dionysiac processional ritual into representations of the return of Hephaistos in order to articulate visually the principal theme of the myth. The vasepainters structured the myth along the lines of epiphanic processions in which Dionysos was escorted into the city of Athens. Like Dionysiac epiphanic processions, the procession of Hephaistos, Dionysos and the wine-god's followers is distinguished visually by drunkenness, ostentatious display of the phallus and obscene or insulting behaviour. To judge from the aetiological myths associated with them, the epiphanic processions symbolized the triumph of Dionysos over, and his belated acceptance by, those who denied his status as a god. By structuring the visual representations of the return of Hephaistos along the lines of such Dionysiac processions, artists conveyed visually the idea that the myth also concerned the triumph of a god over those who rejected him, and his acceptance among the Olympians. It is not necessary to assume that the vase-painters relied on a detailed poetic account of the myth to create their representations of it, because they employed elements of religious spectacle, an inherently visual phenomenon, to convey the essence of the story.

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“…1 - Davies (1988); Mary Lefkowitz (1988);Heath (1988); cabe destacar que estamos lejos de una discusion consensuada; veanse las objeciones planteadas por Anne Bumett (1989) a estos estudios. Ruth Scodel(1996) si bien no se ocupa directamente de este problema, muestra la actualidad de1 mismo; tambien Miller (1993).…”

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Oralidad y escritura en la lirica griega arcaica: el ejemplo de Píndaro

Torres

1999

Classica

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RESUMO:Neste artigo focaliza-se o estudo da poesia de Pindaro, a partir das recentes abordagens hermeneuticas que consideram a cultura oral da Grecia arcaica como um fator decisivo para a interpretacao da poesia arcaica. O critico status quaestionis e revisado, especialmente em relacao ao problema da elocucao em primeira pessoa nas epinicias, como tamb6m a sua atribuicao ao coro ou ao poeta, o que leva a recente discussao sobre a intervencao regular dos coros na petformance. A hipotese de uma perfonance solo parece estar relacionada com um grau de conhecimento e o uso da escrita no ambito da composicao. Algumas marcas textuais nas odes de Pindaro que indicam escrita sao analisadas e confrontadas com sua estrutura. Este estudo procura dar uma contribuicao a recente questao do carAter coral das epinicias. PALAVRAS-CHAVE: Poesia de Pindaro; epinicias; coro; perfonance.La tendencia generalizada en la critica pindarica de 10s ultimos anos ha sido contextualizar la produccion poetica de Pindaro en e1 marco de la cultura oral de la Grecia arcaica, cuestion clave para la comprension moderna de Pindaro, inevitablemente leido como texto, y a1 que se suma e1 peso de la tradicion de1 comentario textual en la multiplicadora extension de 10s escolios. Pareciera que, para aproximarse a1 contexto oral de la ejecucion de una oda pindarica, buena parte de la tarea hermentutica que tenemos por delante habria de consistir en desmontar todo este bagaje, en 10 que parece un intento por "des-escribir" 10 ostensiblemente escrito. Basadas sobre 10 escrito, ni la teoria literaria moderna ni la antigua, con sus minuciosas clasificaciones, resultan herramientas suficientes a la hora de comprender una oda pindarica. Esto es, ciertamente, consecuencia de1 descredito progresivo de 10s comentaristas antiguos, variadamente acusados de parcialidad, de falta de perspectiva y hasta de simple y pura invencion (cfr. Wilson, 1980; Lefkowitz, 1980 Lefkowitz, y 1981 Slater, 1971 Slater, y 1977. De ahi la necesidad de recumr a enfoques de otras disciplinas, especialmente de la antropologia (cfr. especialmente Nagy, 1990, p. 1-16), que han llevado a plantear la discusion acerca de la oralidad y la escritura en la Grecia arcaica mas alla de 10 eshictamente literario. Pero 10 que interesa ver aqui es, por un lado, como estos problemas ya venian configurandose en la critica pindarica especializada de 10s ultimos anos y, en segundo lugar, atender brevemente a un testimonio de Pindaro que impone cierta cautela a las generalizaciones sobre la oralidad de la lirica.

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Receiving the kwmos: The Context and Performance of Epinician

Cited by 23 publications

References 0 publications

Visual Imagery in Parthenaic Song

Visual Imagery in Parthenaic Song

The Return of Hephaistos, Dionysiac Processional Ritual and the Creation of a Visual Narrative

Oralidad y escritura en la lirica griega arcaica: el ejemplo de Píndaro

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