Eros and praise in early Greek lyric

Kapitel in diesem Buch

1. Frontmatter I
2. Foreword V
3. Table of Contents VII
4. Introduction 1
5. Reflections of choral song in early hexameter poetry 15
6. Alcman's first Partheneion and the song the Sirens sang 33
7. Cyberchorus: Pindar’s Κηληδόνες and the aura of the artificial 67
8. Enunciative fiction and poetic performance. Choral voices in Bacchylides’ Epinicians 115
9. Eros and praise in early Greek lyric 139
10. The parrhesia of young female choruses in Ancient Greece 161
11. A second look at the poetics of re-enactment in Ode 13 of Bacchylides 173
12. The Ceians and their choral lyric: Athenian, epichoric and pan-Hellenic perspectives 207
13. Song, politics, and cultural memory: Pindar’s Pythian 7 and the Alcmaeonid temple of Apollo 235
14. Epinician choregia: funding a Pindaric chorus 269
15. Pindar and the Aeginetan patrai: Pindar’s intersecting audiences 311
16. Olympians 1–3: A song cycle? 337
17. The dissemination of Pindar’s non-epinician choral lyric 347
18. Choral self-awareness: on the introductory anapaests of Aeschylus’ Supplices 365
19. Epinician and tragic worlds: the case of Sophocles’ Trachiniae 391
20. Alcman at the end of Aristophanes’ Lysistrata: ritual interchorality 415
21. Alcman: from Laconia to Alexandria 437
22. Bibliography 461
23. List of Contributors 499
24. Index of proper names and subjects 503
25. Index locorum 543