Genre in Archaic and Classical Greek Poetry: Theories and Models最新文献

Experiencing Elegy: Materiality and Visuality in the Ambracian Polyandrion 体验挽歌:安布拉西亚波利安德里翁的物质性和可视性

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_012

S. Estrin

引用次数: 2

Chorus Lines: Catalogues and Choruses in Archaic and Early Classical Hexameter Poetry and Choral Lyric 合唱线:目录和合唱在古代和早期古典六步诗和合唱抒情

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_007

D. Steiner

引用次数: 1

The Speaking Persona: Ancient Commentators on Choral Performance 说话的角色:古代合唱表演评论家

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_006

F. Schironi

引用次数: 1

Sappho’s Parachoral Monody 萨福的副歌

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_005

Timothy Power

引用次数: 5

Is Korybantic Performance a (Lyric) Genre? Korybantic表演是一种(抒情)流派吗?

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_010

M. Griffith

{"title":"Is Korybantic Performance a (Lyric) Genre?","authors":"M. Griffith","doi":"10.1163/9789004412590_010","DOIUrl":"https://doi.org/10.1163/9789004412590_010","url":null,"abstract":"Korybantic rites and other celebrations of similar type, involving loud and exciting music and strong emotional affect, were widely practiced throughout the Greek world, but they are not normally discussed as examples of “Greek lyric,” either by ancient or by modern critics. In this chapter, I want to explore not just the reasons for this omission but also some key characteristics of Korybantic performance1 that serve to illustrate the extent to which the study and interpretation of Greek “song culture,” by focusing—for obvious reasons— so intensively on the verbal aspects of that culture’s high-end achievements (i.e., the surviving poetry of Sappho, Pindar, Anacreon, et al.), has tended to underestimate the abundance and significance of some of the popular song and dance forms that do not survive as written texts. Elite biases, ancient and modern, have thus, I suggest, rather distorted our picture of the archaic and classical music scene overall, and have unduly marginalized certain types of lyric performance that deserve to be includedmore squarely within our critical assessments anddefinitions.Mydiscussionwill also, I hope, contribute another relevant dimension to this volume’s range of approaches to the question of what constitutes a “lyric genre,” and what poetic, social, and performative criteria should be invoked in answering such a question.","PeriodicalId":372785,"journal":{"name":"Genre in Archaic and Classical Greek Poetry: Theories and Models","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126256525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Generic Hybridity in Athenian Tragedy 雅典悲剧中的一般混杂性

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_008

Naomi A. Weiss

{"title":"Generic Hybridity in Athenian Tragedy","authors":"Naomi A. Weiss","doi":"10.1163/9789004412590_008","DOIUrl":"https://doi.org/10.1163/9789004412590_008","url":null,"abstract":"Thoughweoften view tragedyprimarily in termsof the character and actions of its protagonists, it was, first and foremost, a choral genre. Even Aristotle, who in the Poetics largely avoids discussion of the chorus altogether, tells us that tragedy developed “from the leaders of the dithyramb” (ἀπὸ τῶν ἐξαρχόντων τὸν διθύραμβον, 1449a10–11), thus demonstrating that its origins were thought to be choral. In his Laws Plato, who, unlike Aristotle, had grown up in Athens, presumably regularly attending the theater and even participating in various choruses himself, clearly views tragedy in terms of choral song and dance—a combination called choreia, which the Athenian Stranger presents as vital to the city’s social, ethical, and physical fabric. The choral nature of this genre also becomes evident when we consider howmany tragedies (especially those of Aeschylus) are named after their choruses, and howmuch of a tragedy could consist in choreia: in Aeschylus’ Supplices, for example, the chorus sings for more than half the play; in Agamemnon and Choephoroi for just under half. Though later tragedy tends to include less choral song, on average it still occupies at least 15 percent of Sophoclean and Euripidean drama.1 The predominance of choreia in Aeschylus’ surviving plays suggests not only that it played a big part in early tragedy, but that early tragedy was by its very nature an amalgamation of different types of choral song, interspersed with actors’ dialogue (and occasionally actors’ song). Supplices, with its high proportion of choreia, demonstrates this mix well. Initially lament seems to dominate the play, as the maidens mourn their plight and seek protection in Argos— indeed, in their parodos they characterize themselves as continuously lamenting, claiming “while living I honor myself with dirges” (ζῶσα γόοις με τιμῶ,","PeriodicalId":372785,"journal":{"name":"Genre in Archaic and Classical Greek Poetry: Theories and Models","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116673718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Pindar, Paean 6: Genre as Embodied Cultural Knowledge 品达:《赞歌6:体裁作为文化知识的体现》

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_013

Sarah Olsen

{"title":"Pindar, Paean 6: Genre as Embodied Cultural Knowledge","authors":"Sarah Olsen","doi":"10.1163/9789004412590_013","DOIUrl":"https://doi.org/10.1163/9789004412590_013","url":null,"abstract":"By linking genre with occasion, scholars of Greek song invigorated the study of performance, ritual, and society in archaic and classical Greece. Recent attention to the reperformance of choral song has not diminished the importance of original performance context. Rather, studies of reperformance have consistently uncovered additional layers of meaning within individual songs, highlighting how the force of a song, a myth, or an image may shift in relation to different audiences andplaces of performance.1 In this chapter, however, Iwant to focus on what remains the same. How does an archaic choral song retain its fundamental generic quality across multiple occasions for performance? How might we preserve the insights gained from the “performance context” model of Greek song genre while also acknowledging the richness and complexity of reperformance? I will argue that understanding genre as a form of “embodied cultural knowledge” can explain how an archaic Greek choral song can be both an artifact of a specific performance occasion and a flexible expressive mode, adaptable to multiple situations and singers. I owe the concept of “embodied cultural knowledge” to dance theorist Deirdre Sklar, whose observations I will discuss at greater length below. In essence, this phrase refers to the somatic and sensory experiences that an individual accrues in the course of living andmoving within a particular society— the ways in which one’s body both participates in and resists the process of acculturation.2 Given that the embodied presence and experience of both performers and audience members are a crucial element of Greek choral song as","PeriodicalId":372785,"journal":{"name":"Genre in Archaic and Classical Greek Poetry: Theories and Models","volume":"17 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120929081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Genre, Occasion, and Choral Mimesis Revisited, with Special Reference to the “Newest Sappho” 体裁，场合，合唱模仿重访，特别提及“最新的萨福”

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_003

G. Nagy

{"title":"Genre, Occasion, and Choral Mimesis Revisited, with Special Reference to the “Newest Sappho”","authors":"G. Nagy","doi":"10.1163/9789004412590_003","DOIUrl":"https://doi.org/10.1163/9789004412590_003","url":null,"abstract":"This essay is the thirdpart of a tripartite project.The first part, “Genre andOccasion,” was published in Mètis (1994–1995), and the second part, “Transmission of Archaic Greek Sympotic Songs: From Lesbos to Alexandria,” was published ten years later in Critical Inquiry (2004). Eleven years still later, I delivered the present essay, “Genre, Occasion, and Choral Mimesis Revisited,” as a keynote lecture at the University of California, Berkeley, on the occasion of the conference on which this volume is based. The subtitle of my essay refers to the “newest Sappho,” by which I mean the new fragments of Sappho as published in a 2016 book edited by Anton Bierl and André Lardinois, The Newest Sappho (P. Obbink and P. GC Inv. 105, frs. 1– 5). This book contains not only the new fragments of Sappho as edited by Dirk Obbinkbut also a set of chapters that comment extensively on those fragments. I focus here on two of those chapters in that book: (1) chapter 11 by Leslie Kurke, “Gendered Spheres and Mythic Models in Sappho’s Brothers Poem,” and (2) chapter 21 by myself, “A Poetics of Sisterly Affect in the Brothers Song and in Other Songs of Sappho.” Myessayhere, just likemykeynote lecture as indicated above, is dedicated to twopeople namedLeslie/Lesley. I startwith the first of the two,my friendLeslie Kurke. I focus on her interpretation of a song that is part of the new set of Sappho fragments that I already mentioned. In this Sappho fragment, containing a large part of a text now known as the Brothers Song, we read near the beginning that a female speaker, evidently the character of Sappho, is in the process of speaking to someone. In chapter 11 of the book that I also already mentioned,TheNewest Sappho, Kurke argues that this someone to whom Sappho is speaking is Sappho’s mother. This reading meshes with that of Dirk Obbink in","PeriodicalId":372785,"journal":{"name":"Genre in Archaic and Classical Greek Poetry: Theories and Models","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126818661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Iambic Horror: Shivers and Brokenness in Archilochus and Hipponax 抑扬格恐怖:阿基洛科斯和希波那克斯的颤抖和破碎

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_011

M. Telò

引用次数: 2

Athens and Apolline Polyphony in Bacchylides’ Ode 16 巴基里得斯的《颂诗》中的雅典和阿波琳复调

Genre in Archaic and Classical Greek Poetry: Theories and Models Pub Date : 2019-10-01 DOI: 10.1163/9789004412590_009

Margaret Foster

引用次数: 0