Download Free Pindars Art Book in PDF and EPUB Free Download. You can read online Pindars Art and write the review.

Wells argues that the victory song is a traditional art form that appealed to a popular audience and served exclusive elite interests through the inclusive appeal of entertainment, popular instruction, and laughter. Wells offers a new take on old Pindaric questions: genre, unity of the victory song, tradition, and epinician performance.
Pindar's Eyes is a ground-breaking interdisciplinary exploration of the interactions between Greek lyric poetry and visual and material culture in the early fifth century BCE. Its aim is to open up analysis of lyric to the wider theme of aesthetic experience in early classical Greece, with particular focus on the poetic mechanisms through which Pindar's victory odes use visual and material culture to engage their audiences. Complete readings of Nemean 5, Nemean 8, and Pythian 1 reveal the poet's deep interest in the relations between lyric poetry and commemorative and religious sculpture, as well as other significant visual phenomena, while literary studies of his evocation of cultural attitudes through elaborate use of the lyric first person are combined with art-historical treatments of ecphrasis, of image and text, and of art's framing of ritual experience in ancient Greece. This specific aesthetic approach is expanded through fresh treatments of Simonides' and Bacchylides' own engagements with material culture, as well as an account of Pindaric themes in the Aeginetan logoi of Herodotus' Histories. These come together to offer not just a novel perspective on the relationship between art and text in Pindaric poetry, but to give rise to new claims about the nature of classical Greek visuality and ritual subjectivity, and to foster a richer understanding of the ways in which classical poetry and art shaped the lives and experiences of their consumers.
A study of three epinicia of Pindar, which have in common that they celebrate victories of Aeginetan athletes and that they respond to the contemporary political situation in Aegina and to circumstances of the victory. The primary objective of this book is to provide an interpretation of each of the three odes as meaningful, coherent works of the literary art. For each ode, it provides a commentary in which problems of text and interpretation are discussed in detail, a structural and metrical analysis, and an interpretative essay, in which the observations of detail are brought together in order to provide an answer to the question as to how the ode at hand could have functioned as a coherent, meaningful epinicion. The introduction addresses questions of method and provides a description of Pindar's style.
Ian Kidd, of the University of St. Andrews, Scotland, has long been known as a world-class scholar of ancient philosophy and of Posidonius, in particular. Through his long struggle with the fragments of Posidonius, Kidd has done more than any other scholar of ancient philosophy to dispel the myth of "Pan-Posidonianism." He has presented a clearer picture of the Posidonius to whom we may have access. The Passionate Intellect is both a Festschrift offered to Professor Kidd and an important collection of essays on the transformation of classical traditions. The bulk of this volume is built around the theme of Kidd's own inaugural lecture at St. Andrews, "The Passionate Intellect." Many of the contributions follow this theme through by examining how individual people and texts influenced the direction of various traditions. The chapters cover the whole of the classical and late antique periods, including the main genres of classical literature and history, and the gradual emergence of Christian literature and themes in late antiquity. Many of the papers naturally concentrate on ancient philosophy and its legacy. Others deal with ancient literary theory, history, poetry, and drama. Most of the papers deal with their subjects at some length and are significant contributions in their own right. The contributors to this collection include key figures hi contemporary classical scholarship, including: C. Carey (London); C. J. Classen (Gottingen); J. Dillon (Dublin); K. J. Dover (St. Andrews); W. W. Fortenbaugh (Rutgers); H. M. Hine (St. Andrews); J. Mansfeld (Utrecht); R. Janko and R. Sharpies (London); and J. S. Richardson (Edinburgh). This book will be invaluable to philosophers, classicists, and cultural historians.
Recent scholarship on early Greek lyric has been primarily concerned with the immediate contexts of its first performance. This volume instead turns its attention to the rhetoric and realities of poetic permanence. Taking Pindar and archaic Greek literary culture as its focus, it offers a new reading of Pindar's victory odes which explores not only how they were received by those who first experienced them, but also what they can mean to later audiences. Part One of the discussion investigates Pindar's relationship to both of these audiences, demonstrating how his epinicia address the listeners present at their premiere performance and also a broader secondary audience across space and time. It argues that a full appreciation of these texts involves taking both perspectives into account. Part Two describes how Pindar engages with a wide variety of other poetry, particularly earlier lyric, in order to situate his work both within an immanent poetic history and a contemporary poetic culture. It shows how Pindar's vision of the world shaped the meaning of his work and illuminates the context within which he anticipated its permanence. The book offers new insights into the texts themselves and invites us to rethink early Greek poetic culture through a combination of historical and literary perspectives.
Recent years have witnessed a revival of interest in the influence of archaic lyric poetry on Hellenistic poets. However, no study has yet examined the reception of Pindar, the most prominent of the lyric poets, in the poetry of this period. This monograph is the first book to offer a systematic examination of the evidence for the reception of Pindar in the works of Callimachus of Cyrene, Theocritus of Syracuse, Apollonius of Rhodes and Posidippus of Pella. Through a series of case studies, it argues that Pindaric poetry exercised a considerable influence on a variety of Hellenistic genres: epinician elegies and epigrams, hymns, encomia, and epic poetry. For the poets active at the courts of the first three Ptolemies, Pindar's poetry represented praise discourse in its most successful configuration. Imitating aspects of it, they lent their support to the ideological apparatus of Greco-Egyptian kingship, shaped the literary profile of Pindar for future generations of readers, and defined their own role and place in Greek literary history. The discussion offered in this book suggests new insights into aspects of literary tradition, Ptolemaic patronage, and Hellenistic poetics, placing Pindar's work at the very heart of an intricate nexus of political and poetic correspondences.
This volume contains word-for-word commentaries on Pindar's Olympian Odes 10 and 11, and on Nemean 11 and Isthmian 2. These are preceded by a large number of notes on Olympian 1, intended to form a supplement to D.E. Gerber's edition (1982). The author has tried to explain peculiarities of grammar and nuances of meaning as fully as possible, but due attention is paid to figures of style and problems of poetic structure. The interpretations proposed by the author - many of which are new - are accompanied by an adequate documentation, including a critical examination of other views. This documentation has been made more easily accessible by detailed indexes, one of subjects and one of Greek words. The book forms a sequel to volume I, which contains commentaries on Olympians 3, 7, 12, 14. A third volume on Pythians 1, 8, 10 is intended to conclude the series.
This volume contains word-for-word commentaries on Pindar's Olympian Odes 3, 7, 12, 14. Emphasis is placed on the explanations of peculiarities of grammar and idiom, but due attention is paid to figures of style and problems of poetic structure. The interpretations proposed by the author - many of them which are new - are documented as fully, but at the same time as concisely, as possible. This documentation, which includes a critical examination of other views, has been made more easily accessible by detailed indexes. The poems discussed do not have special similarities or interrelationships. On the other hand, they may be considered representative of the poet's art. From this point of view, the present selection may serve as an introduction to the study of Pindar's work. Vol. II will contain commentaries on Olympians 1, 10, 11, Nemean 11, and Isthmian 2. A third volume on Pythians 1, 8, 10 is inteded to conclude the series.