Choral Constructions in Greek Culture The Idea of the Chorus in the Poetry, Art and Social Practices of the Archaic and Early Classical Period
Book contents
- Choral Constructions in Greek Culture
- Choral Constructions in Greek Culture
- Copyright page
- Dedication
- Contents
- Illustrations
- Preface and Acknowledgements
- Introduction
- 1 Choreia at the Forge: Tripod Cauldrons, Golden Maidens and the Choral Dancers on Achilles’ Shield in Iliad 18
- 2 From the Demonic to the Divine: Gorgons, Cauldrons and Choral Dance
- 3 Flying with the Birds: Avian Choreia and Bird Choruses in Art and Text
- 4 The Carnival of the Animals: Dancing in Herds
- 5 Water Music: Nymphs, Ships and Choral Aquatics
- 6 A Chorus of Columns: Pindar’s Agalmata and the Architectural Chorus
- 7 Choral Fabrications: Weaving, Cloth-Making and Choral Song and Dance
- 8 Choreo-graphy: Choreia and Alphabetic Writing
- 9 Girls in Lines: Catalogues and Choruses
- 10 Choral Envisioning: Archaic and Early Classical Choral Lyric and Post-Classical Accounts of Enargeia
- Bibliography
- Index Locorum
- Subject Index
- References
Bibliography
Published online by Cambridge University Press: 20 May 2021
Book contents
- Choral Constructions in Greek Culture
- Choral Constructions in Greek Culture
- Copyright page
- Dedication
- Contents
- Illustrations
- Preface and Acknowledgements
- Introduction
- 1 Choreia at the Forge: Tripod Cauldrons, Golden Maidens and the Choral Dancers on Achilles’ Shield in Iliad 18
- 2 From the Demonic to the Divine: Gorgons, Cauldrons and Choral Dance
- 3 Flying with the Birds: Avian Choreia and Bird Choruses in Art and Text
- 4 The Carnival of the Animals: Dancing in Herds
- 5 Water Music: Nymphs, Ships and Choral Aquatics
- 6 A Chorus of Columns: Pindar’s Agalmata and the Architectural Chorus
- 7 Choral Fabrications: Weaving, Cloth-Making and Choral Song and Dance
- 8 Choreo-graphy: Choreia and Alphabetic Writing
- 9 Girls in Lines: Catalogues and Choruses
- 10 Choral Envisioning: Archaic and Early Classical Choral Lyric and Post-Classical Accounts of Enargeia
- Bibliography
- Index Locorum
- Subject Index
- References
- Type
- Chapter
- Information
- Choral Constructions in Greek CultureThe Idea of the Chorus in the Poetry, Art and Social Practices of the Archaic and Early Classical Period, pp. 702 - 727Publisher: Cambridge University PressPrint publication year: 2021
References
Ahlberg-Cornell, G. 1992. Myth and Epos in Early Greek Art: Representation and Interpretation. Studies in Mediterranean Archaeology 100. Jonsered.Google Scholar
Allan, W. (ed.) 2008. Euripides: Helen. Cambridge Greek and Latin Classics. Cambridge.Google Scholar
Alonge, M. 2011. ‘Greek Hymns from Performance to Stone’, in Lardinois, A. P. M. H., Blok, J. H. and van der Poel, M. G. M. (eds.), Sacred Words: Orality, Literacy and Religion. Orality and Literacy in the Ancient World 8. Leiden: 217–34.Google Scholar
Andújar, R. 2018. ‘Hyporchematic Footprints in Euripides’ Electra’, in Andújar, R, Coward, T. R. P. and Hadjimichael, T (eds.), Paths of Song: The Lyric Dimension of Greek Tragedy. Berlin: 265–90.Google Scholar
Athanassaki, L. and Bowie, E (eds.) 2011. Archaic and Classical Choral Song: Performance, Politics and Dissemination. Berlin.CrossRefGoogle Scholar
Bachvarova, M. R. 2009. ‘Suppliant Danaids and Argive Nymphs in Aeschylus’, CJ 104: 289–310.Google Scholar
Bakker, E. 1993. ‘Discourse and Performance: Involvement, Visualization and “Presence” in Homeric Poetry’, CA 12: 1–29.Google Scholar
Barber, E. 1991. Prehistoric Textiles: The Development of Cloth in the Neolithic and Bronze Ages with Special Reference to the Aegean. Princeton.Google Scholar
Barber, E. 1992. ‘The Peplos of Athena’, in Neils, J (ed.), Goddess and Polis: The Panathenaic Festival in Ancient Athens. Princeton: 103–17.Google Scholar
Barker, A. 1995. ‘Heterophonia and Poikilia: Accompaniments to Greek Melody’, in Gentili, B and Perusino, F (eds.), Mousikê: Metrica ritmica e musica greca in memoria di Giovanni Comotti. Pisa and Rome: 41–60.Google Scholar
Barker, A. 2004. ‘Transforming the Nightingale: Aspects of Athenian Musical Discourse in the Late Fifth Century’, in Murray, and Wilson, : 185–204.CrossRefGoogle Scholar
Barringer, J. 1995. Divine Escorts: Nereids in Archaic and Classical Greek Art. Ann Arbor.Google Scholar
Belfiore, E. S. 2000. Murder among Friends: Violation of Philia in Greek Tragedy. Oxford and New York.Google Scholar
Bélis, A. 1988. ‘A proposito degli “Inni delfici” ad Apollo’, in Gentili, B and Pretagostini, R (eds.), La musica in Grecia. Bari: 205–18.Google Scholar
Bellia, A. 2012. Il canto delle vergini locresi: la musica a Locri Epizefirii nelle fonti scritte e nella documentazione archeologico (secoli VI–III a.C.). Nuovi saggi 116. Pisa and Rome.Google Scholar
Benediktson, D. T. 2000. Literature and the Visual Arts in Ancient Greece and Rome. Norman, OK.Google Scholar
Bennett, E. L. 1963. ‘Names for Linear B Writing and Its Signs’, Kadmos 2: 98–123.CrossRefGoogle Scholar
Benveniste, E. 1969. Le vocabulaire des institutions indo-européennes. Vols. I–II. Paris.Google Scholar
Benveniste, E. 1971. ‘The Notion of “Rhythm” in its Linguistic Expression’, in Problems in General Linguistics. Coral Gables, FL: 281–89.Google Scholar
Bergren, A. L. T. 1975. The Etymology and Usage of πεῖραρ in Early Greek Poetry. New York.Google Scholar
Bernsdorff, H. 2004. ‘Schwermut des Alters im neuen Kölner Sappho-Papyrus’, ZPE 150: 27–35.Google Scholar
Bierl, A. 2011. ‘Alcman at the End of Aristophanes’ Lysistrata: Ritual Interchorality’, in Athanassaki, and Bowie, : 415–35.Google Scholar
Bierl, A. 2013. ‘Maenadism as Self-Referential Chorality in Euripides’ Bacchae’, in Gagné, and Hopman, : 211–26.Google Scholar
Bierl, A. 2016. ‘Visualizing the Cologne Sappho: Mental Imagery through Chorality, the Sun, and Orpheus’, in V. Cazzato and A. Lardinois (eds.), The Look of Lyric: Greek Song and the Visual. Studies in Archaic and Classical Greek Song 1. Leiden: 307–42.Google Scholar
Billings, J., Budelmann, F and Macintosh, F (eds.) 2013. Choruses, Ancient and Modern. Cambridge.Google Scholar
Binek, N. 2017. ‘The Dipylon Oinochoe Graffito: Text or Decoration?’, Hesperia 86: 423–42.Google Scholar
Bing, P. 2008. The Well-Read Muse: Present and Past in Callimachus and the Hellenistic Poets. Rev. ed. Ann Arbor.Google Scholar
Blakely, S. 2006. Myth, Ritual, and Metallurgy in Ancient Greece and Recent Africa. Cambridge.Google Scholar
Blondell, R. 2005. ‘From Fleece to Fabric: Weaving Culture in Plato’s Statesman’, Oxford Studies in Ancient Philosophy 38: 23–75.Google Scholar
Boedeker, D. 1984. Descent from Heaven: Images of Dew in Greek Poetry and Religion. American Classical Studies 13. Chico, CA.Google Scholar
Borell, B. 1978. Attisch Geometrische Schalen: eine spätgeometrische Keramikgattung und ihre Beziehungen zum Orient. Mainz am Rhein.Google Scholar
Bosher, K. (ed.) 2012. Theatre outside Athens: Drama in Greek Sicily and South Italy. Cambridge.Google Scholar
Bowie, E. L. 1986. ‘Early Greek Elegy, Symposium and Public Festival’, JHS 106: 13–35.Google Scholar
Bowie, E. L. 2006. ‘Choral Performances’, in Konstan, D and Saïd, S (eds.), Greeks on Greekness: Viewing the Greek Past under the Roman Empire. PCPS Suppl. 29: 61–92.Google Scholar
Bowie, E. L. 2010. ‘Epigram as Narration’, in Baumbach, M, Petrovic, A and Petrovic, I (eds.), Archaic and Classical Greek Epigram. Oxford: 313–84.Google Scholar
Bowie, E. L. 2011. ‘Alcman’s First Partheneion and the Song the Sirens Sang’, in Athanassaki, and Bowie, : 35–65.Google Scholar
Brann, E. 1961. ‘Protoattic Well Groups from the Athenian Agora’, Hesperia 30: 305–79.Google Scholar
Bravo, B. 1997. Pannychis e simposio: Feste private notturne di donne e uomini nei testi letterari e nel culto, con uno studio iconografico di Françoise Frontisi-Ducroux. Pisa and Rome.Google Scholar
Briand, M. 2009. ‘La danse et la philologie: à partir du mouvement strophique dans les scholies anciennes à Pindare’, in David, S et al. (eds.), Traduire les scholies de Pindare. Vol. I. Dialogues d’histoire ancienne Supplément 2: 93–106.Google Scholar
Brijder, H. A. G. 1986. ‘A Pre-Dramatic Performance of a Satyr Chorus by the Heidelberg Painter’, in Brijder, H. A. G., Drukker, A. A. and Neeft, C. W. (eds.), Enthusiasmos: Essays on Greek and Related Pottery Presented to J. M. Hemelrijk. Allard Pierson Series 6. Amsterdam: 69–82.Google Scholar
Brown, C. 1989. ‘Anactoria and the Χαρίτων ἀμαρύγματα: Sappho fr. 16, 18 Voigt’, QUCC 32: 7–15.Google Scholar
Budelmann, F. and Power, T. 2015. ‘Another Look at Female Choruses in Classical Athens’, CA 34: 252–95.Google Scholar
Bundrick, S. 2008. ‘The Fabric of the City: Imaging Textile Production in Classical Athens’, Hesperia 77: 283–334.Google Scholar
Burkert, W. 1983. Homo Necans: The Anthropology of Ancient Greek Sacrificial Ritual and Myth. Berkeley and Los Angeles.Google Scholar
Bussels, S. 2012. The Animated Image: Roman Theory on Naturalism, Vividness and Divine Power. Munich and Leiden.CrossRefGoogle Scholar
Butz, P. A. 2010. The Art of the Hekatompedon Inscription and the Birth of the Stoikhedon Style. Leiden.Google Scholar
Cain, C. D. 2001. ‘Dancing in the Dark: Deconstructing a Narrative of Epiphany on the Isopata Ring’, AJA 105: 27–49.CrossRefGoogle Scholar
Cairns, D. 2010. Bacchylides: Five Epinician Odes (3, 5, 9, 11, 13). Text, Introductory Essays, and Interpretative Commentary. Cambridge.Google Scholar
Calame, C. 1983. Alcman. Introduction, texte critique, témoinages, traduction et commentaire. Rome.Google Scholar
Calame, C. 1994/95. ‘From Choral Poem to Tragic Stasimon: The Enactment of Women’s Song’, Arion 3: 136–54.Google Scholar
Calame, C. 1997. Choruses of Young Women in Ancient Greece: Their Morphology, Religious Role, and Social Function. Trans. Derek Collins and Janice Orion. Lanham, MD.Google Scholar
Calame, C. 2004. ‘Choral Forms in Aristophanic Comedy: Musical Mimesis and Dramatic Performance in Classical Athens’, in Murray, and Wilson, : 157–84.CrossRefGoogle Scholar
Calame, C. 2009a. ‘Apollo in Delphi and in Delos: Poetic Performances between Paean and Dithyramb’, in Athanassaki, L, Martin, R. P. and Miller, J. F. (eds.), Apolline Politics and Poetics. Athens: 169–97.Google Scholar
Calame, C. 2009b. Poetic and Performative Memory in Ancient Greece: Heroic Reference and Ritual Gestures in Time and Space. Trans. H. Patton. Center for Hellenic Studies. Cambridge, MA.Google Scholar
Calame, C. 2012. ‘Metaphorical Travel and Ritual Performance in Epinician Poetry’, in Agócs, P, Carey, C and Rawles, R (eds.), Reading the Victory Ode. Cambridge: 303–20.Google Scholar
Calame, C. 2013. ‘Choral Polyphony and the Ritual Functions of Tragic Songs’, in Gagné, and Hopman, : 35–57.Google Scholar
Canali De Rossi, P. 2004. Iscrizioni dello Estremo Oriente Greco: un repertorio. Inschriften griechischer Städte aus Kleinasien. Bonn.Google Scholar
Carey, C. 2007. ‘Pindar, Place and Performance’, in Hornblower, S and Morgan, C (eds.), Pindar’s Poetry, Patrons, and Festivals from Archaic Greece to the Roman Empire. Oxford: 199–210.Google Scholar
Carey, C. 2012. ‘The Victory Ode in the Theatre’, in Agócs, P, Carey, C and Rawles, R (eds.), Receiving the Komos: Ancient and Modern Receptions of the Victory Ode. London: 17–36.Google Scholar
Carey, C. 2015. ‘Stesichorus and the Epic Cycle’, in Kelly, A and Finglass, P (eds.), Stesichorus in Context. Cambridge: 45–63.Google Scholar
Carne-Ross, D. S. 1979. Instaurations: Essays in and out of Literature, Pindar to Pound. Berkeley and Los Angeles.Google Scholar
Carruesco, J. 2010. ‘Prácticas rituales y modos del discurso: la coralidad como paradigma del catálogo en la poesía arcaica griega’, in Actas del XII Congreso Espanõl de Estudios Clásicos. Vol. II. Valencia: 387–93.Google Scholar
Carruesco, J. 2012. ‘Helen’s Voice and Choral Mimesis from Homer to Stesichorus’, in Riu, X and Pòrtulas, J (eds.), Approaches to Archaic Greek Poetry. Messina: 149–72.Google Scholar
Carruesco, J. 2016. ‘Choral Performance and Geometric Patterns in Epic Poetry and Iconographic Representations’, in Cazzato, V and Lardinois, A (eds.), The Look of Lyric: Greek Song and the Visual. Studies in Archaic and Classical Greek Song 1. Leiden: 69–107.Google Scholar
Carter, J. B. 1995. ‘Ancestor Cult and the Occasion of Homeric Performance’, in Carter, J. B. and Morris, S (eds.), The Ages of Homer: A Tribute to Emily Townsend Vermeule. Austin: 285–312.Google Scholar
Cassio, A. C. 1994. ‘I distici del polyandrian di Ambracia e l’ ‘io anonimo’ nell’epigramma Greco’, SMEA 33: 101–17.Google Scholar
Casson, L. 1921. ‘ΑΠΟΔΕΙΧΙΣ, “Inventory”, in Herodotus and Thucydides’, CR 35: 144–45.Google Scholar
Cazzato, V. and Lardinois, A (eds.) 2016. The Look of Lyric: Greek Song and the Visual. Studies in Archaic and Classical Greek Song 1. Leiden.Google Scholar
Ceccarelli, P. 2010. ‘Changing Contexts: Tragedy in the Civic and Cultural Life of the City-States’, in Gildenhard, I and Revermann, M (eds.), Beyond the Fifth Century: Interactions with Greek Tragedy from the Fourth Century BCE to the Middle Ages. Berlin: 99–150.Google Scholar
Ceccarelli, P. and Milanezi, S. 2007. ‘Dithyramb, Tragedy – and Cyrene’, in Wilson, P (ed.), The Greek Theatre and Festivals: Documentary Studies. Oxford: 185–214.Google Scholar
Chaniotis, A. 2006. ‘Rituals between Norms and Emotions: Rituals as Shared Experience and Memory’, in Stavrianopoulou, E (ed.), Ritual and Communication in the Graeco-Roman World. Liège: 211–38.Google Scholar
Chaniotis, A. 2007. ‘Theatre Rituals’, in Wilson, P (ed.), The Greek Theatre and Festivals: Documentary Studies. Oxford: 48–66.Google Scholar
Chantraine, P. 1999. Dictionnaire étymologique de la langue grecque. Histoire des mots. 2nd ed. Paris.Google Scholar
Clarke, M. 1997/98. ‘πινύσκω and Its Cognates: A Note on Simonides, fr. 508 Page’, Glotta 74: 135–42.Google Scholar
Clay, J. S. 1974. ‘Demas and Aude: The Nature of Divine Transformation in Homer’, Hermes 102: 129–36.Google Scholar
Clements, A. 2015. ‘Divine Scents and Presence’, in Bradley, M (ed.), Smell and the Ancient Senses. London and New York: 46–59.Google Scholar
Cohen, B. 2006. The Colors of Clay: Special Techniques in Athenian Vases. The J. Paul Getty Museum. Los Angeles.Google Scholar
Collins, C. 1991. Reading the Written Image: Verbal Play, Interpretation, and the Roots of Iconophobia. University Park.Google Scholar
Connelly, J. 2007. Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton.Google Scholar
Connelly, J. 2010. ‘Excavations on Geronisos, Third Report: The Circular Structure, East Building, and the Square Houses’, in Report of the Department of Antiquities of Cyprus 2009: 295–348.Google Scholar
Connelly, J. 2011. ‘Ritual Movement through Sacred Space: Towards an Archaeology of Performance’, in Chaniotis, A (ed.), Ritual Dynamics in the Ancient Mediterranean: Agency, Emotion, Gender, Representation. Stuttgart: 313–46.Google Scholar
Constantinidou, S. 1998. ‘Dionysiac Elements in Spartan Cult Dances’, Phoenix 52: 15–30.Google Scholar
Couprie, D. L., Hahn, R and Naddaf, G. 2003. Anaximander in Context: New Studies in the Origins of Greek Philosophy. Albany.Google Scholar
Crowhurst, R. 1963. Representations of Performance of Choral Lyric on the Greek Monuments, 800–350 BC. PhD diss., 2 vols. University of London.Google Scholar
Csapo, E. 1999/2000. ‘Later Euripidean Music’, in Cropp, M. J., Lee, K and Sansone, D (eds.), Euripides and Tragic Theatre in the Late Fifth Century. ICS 24–25. Champagne: 399–426.Google Scholar
Csapo, E. 2003. ‘The Dolphins of Dionysus’, in Csapo, E and Miller, M. C. (eds.), Poetry, Theory, Praxis: The Social Life of Myth, Word and Image in Ancient Greece. Essays in Honour of William J. Slater. Oxford: 69–98.Google Scholar
Csapo, E. 2008. ‘Star Choruses: Eleusis, Orphism and New Musical Imagery and Dance’, in Revermann, M and Wilson, P (eds.), Performance, Iconography, Reception: Studies in Honour of Oliver Taplin. Oxford: 262–90.Google Scholar
Csapo, E. 2010. ‘The Context of Choregic Dedications’, in Taplin, O and Wyles, R (eds.), The Pronomos Vase and Its Context. Oxford: 79–130.Google Scholar
Csapo, E. and Miller, M. C.. 1991. ‘The “Kottabos-Toast” and an Inscribed Red-figured Cup’, Hesperia 60: 367–82.Google Scholar
Cucuzza, N. 2013. ‘Minoan Nativity Scene? The Ayia Triada Swing Model and the Three-Dimensional Representation of Minoan Divine Epiphany’, Annuario della Scuola Archeologica di Atene 91: 175–207.Google Scholar
Cumont, F. 1928. ‘Inscriptions grecques de Suse’, Mémoires de la Mission Archéologique de Perse 20: 77–98.Google Scholar
Currie, B. 2004. ‘Reperformance Scenarios for Pindar’s Odes’, in Mackie, C. J. (ed.), Oral Performance and Its Context. Leiden: 49–69.Google Scholar
Currie, B. 2011. ‘Epinician Choregia: Funding a Pindaric Chorus’, in Athanassaki, and Bowie, : 269–309.Google Scholar
D’Alessio, G. B. 2005. ‘Ordered from the Catalogue: Pindar, Bacchylides and Hesiodic Genealogical Poetry’, in Hunter, R (ed.), The Hesiodic Catalogue of Women: Constructions and Reconstructions. Cambridge: 217–38.Google Scholar
D’Alessio, G. B. 2009. ‘Re-Constructing Pindar’s First Hymn: The Theban “Theogony” and the Birth of Apollo’, in Athanassaki, L, Martin, R. P. and Miller, J. F. (eds.), Apolline Politics and Poetics. Athens: 129–47.Google Scholar
D’Angour, A. 1999. ‘Archinus, Eucleides, and the Reform of the Athenian Alphabet’, BICS 43: 109–30.Google Scholar
Davies, M. and Finglass, P. J. (eds.) 2014. Stesichorus: The Poems. Cambridge Classical Texts and Commentaries. Cambridge.Google Scholar
Day, J. W. 1989. ‘Rituals in Stone: Early Greek Grave Epigrams and Monuments’, JHS 109: 16–28.Google Scholar
Day, J. W. 1994. ‘Interactive Offerings: Early Greek Dedicatory Epigrams and Ritual’, HSCP 96: 37–74.Google Scholar
Day, J. W. 2000. ‘Epigram and Reader: Generic Force as (Re-)activation of Ritual’, in Depew, M and Obbink, D (eds.), Matrices of Genre: Authors, Canons, and Society. Cambridge, MA: 37–57.Google Scholar
Day, J. W. 2007. ‘Poems on Stone: The Inscribed Antecedents of Hellenistic Epigram’ in Bing, P and Bruss, J. S. (eds.), Brill’s Companion to Hellenistic Epigram down to Philip. Leiden and Boston: 29–47.Google Scholar
De Jong, I. 2009. ‘Metalepsis in Greek Literature’, in Grethlein, J and Rengakos, A (eds.), Narratology and Interpretation: The Content of Narrative Form in Ancient Literature. Berlin: 87–115.Google Scholar
Depew, M. 2000. ‘Enacted and Represented Dedications: Genre and Greek Hymn’, in Depew, M and Obbink, D (eds.), Matrices of Genre: Authors, Canons, and Society. Cambridge, MA: 59–79.Google Scholar
Detienne, M. and Vernant, J.-P.. 1978. Les ruses de l’intelligence: la métis des Grecs. Paris.Google Scholar
Dougherty, C. 1993. The Poetics of Colonization: From City to Text in Archaic Greece. Oxford.Google Scholar
Dowden, K. 1989. Death and the Maiden: Girls’ Initiation Rites in Greek Mythology. London.Google Scholar
Dubel, S. 1997. ‘Ekphrasis et Enargeia. La description antique comme parcours’, in Lévy, L. B. and Pernot, L (eds.), Dire l’évidence. Paris: 249–64.Google Scholar
Eckerman, C. 2014. ‘Pindar’s Delphi’, in Gilhuly, K and Worman, N (eds.), Place, Space, and Landscape in Ancient Greek Literature and Culture. Cambridge: 21–62.Google Scholar
Edmunds, S. T. 2012. ‘Picturing Homeric Weaving’, in Bers, V, Elmer, D, Frame, D and Muellner, L (eds.), Donum natalicium digitaliter confectum Gregorio Nagy septuagenario a discipulis collegis familiaribus oblatum = A Virtual Birthday Gift Presented to Gregory Nagy on Turning Seventy by His Students, Colleagues, and Friends. Center for Hellenic Studies. Washington, DC.Google Scholar
Elsner, J. 1996. ‘Image and Ritual: Reflections on the Religious Appreciation of Classical Art’, CQ 46: 515–31.Google Scholar
Faraone, C. 1992. Talismans and Trojan Horses: Guardian Statues in Ancient Greek Myth and Ritual. Oxford.Google Scholar
Faraone, C. 2013. ‘The Poetics of the Catalogue in the Hesiodic Theogony’, TAPA 143: 293–323.Google Scholar
Fearn, D. W. 2003. ‘Mapping Phleious: Politics and Myth-Making in Bacchylides 9’, CQ 53: 347–67.Google Scholar
Fearn, D. W. 2011. ‘The Ceians and Their Choral Lyric: Athenian, Epichoric and Pan-Hellenic Perspectives’, in Athanassaki, and Bowie, : 207–34.Google Scholar
Fehr, B. 2009. ‘Ponos and the Pleasure of Rest: Some Thoughts on Body Language in Ancient Greek Art and Life’, in Yatromanolakis, D (ed.), An Archaeology of Representations: Ancient Greek Vase-Painting and Contemporary Methodologies. Athens: 128–58.Google Scholar
Felson, N. 1999. ‘Vicarious Transport: Fictive Deixis in Pindar’s Pythian Four’, HSCP 99: 1–31.Google Scholar
Felson-Rubin, N. (ed.) 2004. The Poetics of Deixis in Alcman, Pindar, and Other Lyric. Arethusa 37.Google Scholar
Fernandez-Galiano, M. (ed.) 1992. A Commentary on Homer’s Odyssey. Vol. III: Books XVII–XXIV. With J. Russo and A. Heubeck. Oxford.Google Scholar
Ferrari, G. 2003b. ‘What Kind of Rite of Passage was the Ancient Greek Wedding?’, in Dodd, D. B. and Faraone, C. A. (eds.), Initiation in Ancient Greek Rituals and Narratives: New Critical Perspectives. London and New York: 27–42.Google Scholar
Fitzgerald, W. 1987. Agonistic Poetry: The Pindaric Mode in Pindar, Horace, Hölderlin, and the English Ode. Berkeley and Los Angeles.Google Scholar
Foley, H. P. (ed.) 1994. The Homeric Hymn to Demeter: Translation, Commentary and Interpretive Essays. Princeton.Google Scholar
Foley, H. P. 2016. ‘Reconsidering “The Mimetic Action of the Chorus”’. Unpublished manuscript.Google Scholar
Ford, A. 2002. The Origins of Criticism: Literary Culture and Poetic Theory in Classical Greece. Princeton.Google Scholar
Ford, A. 2006. ‘The Genre of Genres: Paeans and Paian in Early Greek Poetry’, Poetica 38: 277–96.Google Scholar
Ford, A. 2010. ‘“A Song to Match My Song”: Lyric Doubling in Euripides’ Helen’, in Mitsis, P and Tsagalis, C (eds.), Allusion, Authority and Truth: Critical Perspectives on Greek Poetic and Rhetorical Praxis. Berlin and New York: 283–302.CrossRefGoogle Scholar
Franklin, J. C. 2013. ‘“Songbenders of Circular Choruses”: Dithyramb and the “Demise of Music”’, in Kowalzig, and Wilson, : 213–36.Google Scholar
Franks, H. M. 2009. ‘Hunting the Eschata: An Imagined Persian Empire on the Lekythos of Xenophantos’, Hesperia 78: 455–80.Google Scholar
Franzen, C. 2009. ‘Sympathizing with the Monster: Making Sense of Colonization in Stesichorus’ Geryoneis’, QUCC 92: 55–72.Google Scholar
Frontisi-Ducroux, F. 1975/2000. Dédale: mythologie de l’artisan en Grèce ancienne. Paris.Google Scholar
Frontisi-Ducroux, F. 1994. ‘Athéna et l’invention de la flûte’, Musica e Storia 2: 239–67.Google Scholar
Frontisi-Ducroux, F. 2002. ‘“Avec son diaphragme visionnaire: ἰδυίῃσι πραπίδεσσι”, Iliade XVIII, 481. À propos du bouclier d’Achille’, REG 115: 463–84.Google Scholar
Furley, W. D. 2007. ‘Prayers and Hymns’, in Ogden, D (ed.), A Companion to Greek Religion. Oxford: 117–31.Google Scholar
Gagné, R. 2013. ‘Dancing Letters: The Alphabetic Tragedy of Kallias’, in Gagné, and Hopman, : 297–316.Google Scholar
Gallet, B. 1990. Recherches sur kairos et l’ambiguïté dans la poésie de Pindare. Bordeaux.Google Scholar
Garvie, A. F. (ed.) 1994. Homer: Odyssey Books VI–VIII. Cambridge Greek and Latin Classics. Cambridge.Google Scholar
Giuliani, L. 2013. Image and Myth: A History of Pictorial Narration in Greek Art. Trans. J. O’Donnell. Chicago and London.Google Scholar
Golab, Hanna. 2018. Postclassical Choral Performances. Ph.D. dissertation, Princeton University.Google Scholar
Gomme, A. W., Andrewes, A and Dover, K. J.. 1992. An Historical Commentary on Thucydides. Books V (25)–VII. Oxford.Google Scholar
Grand-Clément, A. 2015. ‘Poikilia’, in Destrée, P and Murray, P (eds.), A Companion to Ancient Aesthetics. Chichester: 406–21.Google Scholar
Graziosi, B. and Haubold, J (eds.) 2010. Homer: Iliad Book VI. Cambridge Greek and Latin Classics. Cambridge.Google Scholar
Green, J. R. 1985. ‘A Representation of the Birds of Aristophanes’, Greek Vases in the J. Paul Getty Museum 2: 95–128.Google Scholar
Greene, E. 2009. ‘Sappho 58: Philosophical Reflections on Death and Aging’, in Greene, E and Skinner, M. B. (eds.), The New Sappho on Old Age: Textual and Philosophical Issues. Hellenic Studies Series 38. Center for Hellenic Studies. Washington, DC: 147–61.Google Scholar
Greene, T. M. 2001. ‘Labyrinth Dances in the French and English Renaissance’, Renaissance Quarterly 54: 1403–66.Google Scholar
Grethlein, J. 2017. Aesthetic Experiences and Classical Antiquity: The Significance of Form in Narratives and Pictures. Cambridge.Google Scholar
Griffith, M. 2006a. ‘Horsepower and Donkeywork: Equids and the Ancient Greek Imagination’, CP 101: 185–246.Google Scholar
Griffith, M. 2006b. ‘Horsepower and Donkeywork: Equids and the Ancient Greek Imagination. Part Two’, CP 101: 307–58.Google Scholar
Griffith, M. 2013. ‘Satyr-Play, Dithyramb, and the Geopolitics of Dionysian Style in Fifth-Century Athens’, in Kowalzig, and Wilson, : 257–81.Google Scholar
Halliwell, S. 2002. The Aesthetics of Mimesis: Ancient Texts and Modern Problems. Princeton.Google Scholar
Harder, A. 2012. Callimachus: Aetia. Introduction, Text, Translation and Commentary. 2 vols. Oxford.Google Scholar
Hardie., A. 1996. ‘Pindar, Castalia and the Muses of Delphi (the Sixth Paean)’, PLLS 9: 219–57.Google Scholar
Hardie, P. 1998. ‘A Reading of Heliodorus, Aithiopika 3.4.1–5.2’, in Hunter, R (ed.), Studies in Heliodorus. Cambridge: 19–39.Google Scholar
Haselberger, L. (ed.) 1999. Appearance and Essence. Refinements of Classical Architecture: Curvature. Williams Symposium on Classical Architecture. Ephrata, PA.Google Scholar
Haug, A. 2012. Die Entdeckung des Körpers: Körper- und Rollenbilder im Athen des 8. und 7. Jahrhunderts v. Chr. Berlin.Google Scholar
Hedreen, G. 1992. Silens in Attic Black-figure Vase-painting: Myth and Performance. Ann Arbor.Google Scholar
Hedreen, G. 2004. ‘The Return of Hephaistos, Dionysiac Processional Ritual and the Creation of a Visual Narrative’, JHS 124: 38–64.Google Scholar
Hedreen, G. 2011. ‘Bild, Mythos and Ritual: Choral Dance in Theseus’ Cretan Adventure on the François Vase’, Hesperia 80: 491–510.Google Scholar
Hedreen, G. 2013. ‘The Semantics of Processional Dithyramb: Pindar’s Second Dithyramb and Archaic Athenian Vase-Painting’, in Kowalzig, and Wilson, : 171–97.Google Scholar
Hedreen, G. 2016. The Image of the Artist in Archaic and Classical Greece: Art, Poetry, and Subjectivity. Cambridge.Google Scholar
Heiden, B. 2008b. ‘Common People and Leaders in Iliad Book 2: The Invocation of the Muses and the Catalogue of Ships’, TAPA 138: 127–54.Google Scholar
Heinemann, A. 2013. ‘Performance and the Drinking Vessel: Looking for an Imagery of Dithyramb in the Time of the “New Music”’, in Kowalzig, and Wilson, : 282–309.Google Scholar
Henrichs, A. 1994/95. ‘“Why Should I Dance?” Choral Self-Referentiality in Greek Tragedy’, Arion 3rd ser. 3: 56–111.Google Scholar
Henrichs, A. 1996. ‘Dancing in Athens, Dancing on Delos: Some Patterns of Choral Projection in Euripides’, Philologus 140: 48–62.Google Scholar
Henrichs, A. 2003. ‘Writing Religion: Inscribed Texts, Ritual Authority, and the Religious Discourse of the Polis’, in Yunis, H (ed.), Written Texts and the Rise of Literate Culture in Ancient Greece. Cambridge: 38–58.Google Scholar
Høgseth, H. B. 2013. ‘The Language of Craftsmanship’, in Sørensen, M. L. S. and Rebay-Salisbury, K (eds.), Embodied Knowledge: Perspectives on Belief and Technology. Oxford and Philadelphia: 95–105.Google Scholar
Hollinshead, M. B. 1989. ‘The Swallows and Artists of Room Delta 2 at Akrotiri, Thera’, AJA 93: 339–54.Google Scholar
Hopkins, C. 1960. ‘The Origin of the Etruscan-Samian Griffin Cauldron’, AJA 64: 368–70.Google Scholar
Hubbard, T. K. 2011. ‘The Dissemination of Pindar’s Non-Epinician Choral Lyric’, in Athanassaki, and Bowie, : 347–63.Google Scholar
Hunter, R. L. (ed.) 1999. Theocritus, A Selection: Idylls 1, 3, 4, 6, 7, 10, 11 and 13. Cambridge Greek and Latin Classics. Cambridge.Google Scholar
Ingalls, W. B. 2000. ‘Ritual Performance as Training for Daughters in Archaic Greece’, Phoenix 54: 1–20.Google Scholar
Jameson, M. 1990. ‘Perseus, the Hero of Mykenai’, in Hägg, R and Nordquist, G (eds.), Celebrations of Death and Divinity in the Bronze Age Argolid, 11–13 June 1988 (Proceedings of the Sixth International Symposium at the Swedish Institute at Athens, June 11–13, 1988). Stockholm: 213–23.Google Scholar
Jørgensen, L. B. 2013. ‘Spinning Faith’, in Sørensen, M. L. S. and Rebay-Salisbury, K (eds.), Embodied Knowledge: Perspectives on Belief and Technology. Oxford and Philadelphia: 128–36.Google Scholar
Jost, M. 1985. Sanctuaires et cultes d’Arcadie. École française d’Athènes. Études Péloponnésiennes 9. Paris.Google Scholar
Kaempf-Dimitriadou, S. 1979. Die Liebe der Götter in der attischen Kunst des 5. Jahrhunderts v. Chr. Basel.Google Scholar
Kallet, L. 2001. Money and the Corrosion of Power in Thucydides: The Sicilian Expedition and Its Aftermath. Berkeley and Los Angeles.Google Scholar
Karanika, A. 2014. Voices at Work: Women, Performance, and Labor in Ancient Greece. Baltimore.Google Scholar
Karouzou, S. 1954. Corpus Vasorum Antiquorum. Grèce, Athènes-Musée Nationale. Fasc. 2. Paris.Google Scholar
Karvouni, M. 1997. Treading on the Rhythmos of a Greek Temple. PhD diss. University of Pennsylvania.Google Scholar
Karvouni, M. 1999. ‘Demas: The Human Body as a Tectonic Construct’, in Parcell, S and Pérez-Gómez, A (eds.), Chora Three: Intervals in the Philosophy of Architecture. Montreal: 103–24.Google Scholar
Kavoulaki, A. 2011. ‘Choral Self-Awareness: On the Introductory Anapests of Aeschylus’ Supplices’, in Athanassaki, and Bowie, : 365–89.Google Scholar
Kirk, A. 2014. ‘The Semantics of Showcase in Herodotus’s “Histories”’, TAPA 141: 19–40.Google Scholar
Koch-Harnack, G. 1989. Erotische Symbole. Lotosblüte und gemeinsamer Mantel auf antiken Vasen. Berlin.Google Scholar
Koch Piettre, R. 2005. ‘La Chronique de Lindos, ou comment accommoder les restes pour écrire l’Histoire’, in Borgeaud, P and Volokhine, Y (eds.), Les objets de la mémoire. Bern and Berlin: 95–121.Google Scholar
Kosmetatou, E. 2013. ‘Herodotus and Temple Inventories’, in Liddel, P and Low, P (eds.), Inscriptions and Their Uses in Greek and Latin Literature. Oxford: 65–77.Google Scholar
Kousoulini, V. 2016. ‘Panhellenic and Epichoric Elements in Corinna’s Catalogues’, GRBS 56: 82–110.Google Scholar
Kowalzig, B. 2004. ‘Changing Choral Worlds: Song-Dance and Society in Athens and Beyond’, in Murray, and Wilson, : 39–65.Google Scholar
Kowalzig, B. 2007. Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece. Oxford.Google Scholar
Kowalzig, B. 2013. ‘Broken Rhythms in Plato’s Laws: Materialising Social Time in the Chorus’, in Peponi, A.-E. (ed.), Performance and Culture in Plato’s Laws. Cambridge: 171–211.Google Scholar
Kurke, L. 1996. ‘Pindar and the Prostitutes, or Reading Ancient “Pornography”’, Arion 4: 49–75.Google Scholar
Kurke, L. 2005. ‘Choral Lyric as “Ritualization”: Poetic Sacrifice and Poetic Ego in Pindar’s Sixth Paean’, CA 24: 81–130.Google Scholar
Kurke, L. 2007. ‘Visualizing the Choral: Epichoric Poetry, Ritual, and Elite Negotiation in Fifth-Century Thebes’, in Kraus, C, Goldhill, S, Foley, H. P. and Elsner, J (eds.), Visualizing the Tragic: Drama, Myth, and Ritual in Greek Art and Literature. Oxford: 63–101.Google Scholar
Kurke, L. 2012. ‘The Value of Chorality in Ancient Greece’, in Papadopoulos, J. K. and Urton, G (eds.), The Construction of Value in the Ancient World. Los Angeles: 218–35.Google Scholar
Kurke, L. 2013. ‘Imagining Chorality: Wonder, Plato’s Puppets, and Moving Statues’, in Peponi, A.-E. (ed.), Performance and Culture in Plato’s Laws. Cambridge: 123–70.Google Scholar
Kurke, L. 2015. Pindar’s Material Imaginary: Dedications and Politics in Olympian 7. UCL Housman Lecture.Google Scholar
Kurke, L. and Neer, R. 2014. ‘Pindar fr. 75 SM and the Politics of Athenian Space’, GRBS 54: 527–79.Google Scholar
Kurke, L. and Neer, R 2019. Pindar, Song, and Space: Towards a Lyric Archaeology. Chicago.Google Scholar
Kyriakidis, E. 2005. ‘Unidentified Floating Objects on Minoan Seals’, AJA 109: 137–54.Google Scholar
Laing, D. R. 1965. A New Interpretation of the Athenian Naval Catalogue, IG II2, 1951. PhD diss. University of Cincinnati.Google Scholar
Langdon, M. K. 1976. A Sanctuary of Zeus on Mt. Hymettos. Hesperia Supplement 16. Athens.Google Scholar
Langdon, S. 1998. ‘Significant Others: The Male-Female Pair in Greek Geometric Art’, AJA 102: 251–70.Google Scholar
Langdon, S. 2001. ‘Beyond the Grave: Biographies from Early Greece’, AJA 105: 579–606.Google Scholar
Lardinois, A. 1996. ‘Who Sang Sappho’s Songs?’, in Greene, E (ed.), Reading Sappho: Contemporary Approaches. Berkeley and Los Angeles: 150–72.Google Scholar
Lardinois, A. 2009. ‘The New Sappho Poem (P. Köln 21351 and 21376): Key to the Old Fragments’, in Greene, E and Skinner, M. B. (eds.), The New Sappho on Old Age: Textual and Philosophical Issues. Hellenic Studies Series 38. Center for Hellenic Studies. Washington, DC: 41–57.Google Scholar
Lardinois, A. 2011. ‘The Parrhesia of Young Female Choruses in Ancient Greece’, in Athanassaki, and Bowie, : 161–71.Google Scholar
Larson, J. 2000. ‘Boiotia, Athens, the Peisistratids, and the Odyssey’s Catalogue of Heroines’, GRBS 41: 193–222.Google Scholar
Lavecchia, S. 2000. Pindaro: I ditirambi. Introduzione, testo critico, traduzione e commento. Rome and Pisa.Google Scholar
Levaniouk, O. 1999. ‘Penelope and the Pênelops’, in Carlisle, M and Levaniouk, O (eds.), Nine Essays on Homer. Lanham, MD: 95–136.Google Scholar
LeVen, P. 2014. The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry. Cambridge.Google Scholar
Liberman, G. 2016. ‘Some Thoughts on the Symposiastic Catena, Aisakos, and Skolia’, in Cazzato, V, Obbink, D and Prodi, E. E. (eds.), The Cup of Song: Studies on Poetry and the Symposion. Oxford: 42–62.Google Scholar
Lissarrague, F. 1990. The Aesthetics of the Greek Banquet: Images of Wine and Ritual. Trans. A. Szegedy-Maszak. Princeton.Google Scholar
Lissarrague, F. 1993. ‘On the Wildness of Satyrs’, in Carpenter, T. H. and Faraone, C. A. (eds.), Masks of Dionysus. Ithaca and London: 207–20.Google Scholar
Lissarrague, F. 2013. La cité des satyres. Une anthropologie ludique (Athènes, vie–ve siècle avant J. C.). Paris.Google Scholar
Lissarrague, F. 2015. ‘Ways of Looking at Greek Vases’, in Destrée, P and Murray, P (eds.), A Companion to Ancient Aesthetics. Chichester: 237–47.Google Scholar
Lonsdale, S. H. 1995. ‘A Dancing Floor for Ariadne (Iliad 18.590–592): Aspects of Ritual Movement in Homer and Minoan Religion’, in Carter, J. B. and Morris, S (eds.), The Ages of Homer: A Tribute to Emily Townsend Vermeule. Austin: 273–84.Google Scholar
Mack, R. 2002. ‘Facing Down Medusa (An Aetiology of the Gaze)’, Art History 25: 571–604.Google Scholar
Mackil, E. 2013. Creating a Common Polity: Religion, Economy, and Politics in the Making of the Greek Koinon. Berkeley and Los Angeles.Google Scholar
MacLachlan, B. 2009. ‘Kore as Nymph not Daughter: Persephone in a Locrian Cave’, www.stoa.org/diotima/essays/fc04/MacLachlan.html.Google Scholar
Maehler, H. 1982–97. Die Lieder des Bakchylides. 2 vols. Mnemosyne Supplements 62, 167. Leiden.Google Scholar
Malagardis, N. 2008. ‘A Chorus of Women Ololyzousai on an Early Attic Skyphos’, in Kurtz, D (ed.), Essays in Classical Archaeology for Eleni Hatzivassiliou 1977–2007. Studies in Classical Archaeology 4. Oxford: 73–79.Google Scholar
Marconi, C. 2007. Temple Decoration and Cultural Identity in the Archaic Greek World: The Metopes of Selinus. Cambridge.Google Scholar
Marconi, C. 2010. ‘Choroi, Theôriai and International Ambitions: The Hall of Choral Dancers and Its Frieze’, in Palagia, O and Wescoat, B. D. (eds.), Samothracian Connections: Essays in Honor of James R. McCredie. Oxford: 106–35.Google Scholar
Marconi, C. 2013. ‘Mirror and Memory: Images of Ritual Action in Greek Temple Decoration’, in Ravagan, D (ed.), Heaven on Earth: Temples, Ritual, and Cosmic Symbolism in the Ancient World. Chicago: 425–66.Google Scholar
Marconi, C. 2014/15. ‘Pausanias and the Figural Decoration of Greek Sacred Architecture’, RES 65/66: 179–93.Google Scholar
Marinatos, N. 2000. The Goddess and the Warrior: The Naked Goddess and Mistress of Animals in Early Greek Religion. New York.Google Scholar
Martin, R. P. 2007. ‘Outer Limits, Choral Space’, in Kraus, C, Goldhill, S, Foley, H. P. and Elsner, J (eds.), Visualizing the Tragic: Drama, Myth, and Ritual in Greek Art and Literature. Oxford: 35–62.Google Scholar
Martin, R. P. 2008. ‘Keens from the Absent Chorus: Troy to Ulster’, in Suter, A (ed.), Lament: Studies in the Ancient Mediterranean and Beyond. Oxford: 118–38.Google Scholar
McEwen, I. K. 1993. Socrates’ Ancestors: An Essay on Architectural Beginnings. Cambridge, MA.Google Scholar
McGowan, E. 1995. ‘Tomb Marker and Turning Post: Funerary Columns in the Archaic Period’, AJA 99: 615–32.Google Scholar
Miller, J. 1986. Measures of Wisdom: The Cosmic Dance in Classical and Christian Antiquity. Toronto.Google Scholar
Minchin, E. 1996. ‘The Performance of Lists and Catalogues in the Homeric Epics’, in Worthington, I (ed.), Voice into Text: Orality and Literacy in Ancient Greece. Leiden: 3–20.Google Scholar
Mitchell, A. G. 2009. Greek Vase Painting and the Origins of Visual Humour. Cambridge.Google Scholar
Mitsopoulou, C. 2011. ‘The Eleusinian Processional Cult Vessel: Iconographic Evidence and Interpretation’, in Haysom, M and Wallensten, J (eds.), Current Approaches to Religion in Ancient Greece: Papers Presented at a Symposium at the Swedish Institute at Athens, 17–19 April 2008. Stockholm: 189–226.Google Scholar
Moore, M. B. 2004. ‘Horse Care as Depicted on Greek Vases before 400 B. C.’, Metropolitan Museum Journal 39: 35–67.Google Scholar
Moore, M. B. 2006. ‘Hoplites, Horses, and a Comic Chorus’, Metropolitan Museum Journal 41: 33–57.Google Scholar
Morris, I. 1998. ‘Archaeology and Archaic Greek History’, in Fisher, N and van Wees, H (eds.), Archaic Greece: New Approaches and New Evidence. Swansea: 1–91.Google Scholar
Morris, S. 1984. The Black and White Style: Athens and Aigina in the Orientalizing Period. New Haven.Google Scholar
Muellner, L. 1990. ‘The Simile of the Cranes and Pygmies: A Study of Homeric Metaphor’, HSCP 93: 59–101.Google Scholar
Murnaghan, S. 2005. ‘Women in Groups: Aeschylus’ Suppliants and the Female Choruses of Greek Tragedy’, in Pedrick, V and Oberhelman, S. M. (eds.), The Soul of Tragedy: Essays on Athenian Drama. Chicago: 183–98.Google Scholar
Murnaghan, S. 2018. ‘Penelope as a Tragic Heroine: Choral Dynamics in Homeric Epic’, Yearbook of Ancient Greek Epic 2: 165–89.Google Scholar
Murray, O. 2008. ‘The Odyssey as Performance Poetry’, in Revermann, M and Wilson, P (eds.), Performance, Iconography, Reception: Studies in Honour of Oliver Taplin. Oxford: 161–75.Google Scholar
Murray, P. and Wilson, P (eds.) 2004. Music and the Muses: The Culture of Mousike in the Classical Athenian City. Oxford.Google Scholar
Myers, M. 2007. ‘Footrace, Dance and Desire: The χορός of Danaids in Pindar’s Pythian 9’, SIFC 5: 230–47.Google Scholar
Mylonopoulos, I. 2006. ‘Greek Sanctuaries as Places of Communication through Rituals: An Archaeological Perspective’, in Stavrianopoulou, E (ed.), Ritual and Communication in the Graeco-Roman World. Kernos Supplément 16. Liège: 69–110.Google Scholar
Naerebout, F. G. 1997. Attractive Performances: Ancient Greek Dance. Three Preliminary Studies. Amsterdam.Google Scholar
Naerebout, F. G. 2006. ‘Moving Events: Dance at Public Events in the Ancient Greek World. Thinking through Its Implications’, in Stavrianopoulou, E (ed.), Ritual and Communication in the Graeco-Roman World. Kernos Supplément 16. Liège: 37–67.Google Scholar
Nagy, G. 1973. ‘Phaethon, Sappho’s Phaon, and the White Rock of Leukas’, HSCP 77: 137–77.Google Scholar
Nagy, G. 1979. The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry. Baltimore.Google Scholar
Nagy, G. 1990. Pindar’s Homer: The Lyric Possession of an Epic Past. Baltimore and London.Google Scholar
Nagy, G. 1994/95. ‘Transformations of Choral Lyric Traditions in the Context of Athenian State Theater’, Arion 3: 41–55.Google Scholar
Nagy, G. 2009. ‘The “New Sappho” Reconsidered in the Light of the Athenian Reception of Sappho’, in Greene, E and Skinner, M. B. (eds.), The New Sappho on Old Age: Textual and Philosophical Issues. Hellenic Studies Series 38. Center for Hellenic Studies. Washington, DC: 176–99.Google Scholar
Nagy, G. 2010b. ‘Language and Meter’, in Bakker, E (ed.), A Companion to the Ancient Greek Language. Chichester: 370–87.Google Scholar
Nagy, G. 2011. ‘Asopos and His Multiple Daughters: Traces of Preclassical Epic in the Aeginetan Odes of Pindar’, in Fearn, D (ed.), Aegina: Contexts for Choral Lyric Poetry. Oxford: 41–78.Google Scholar
Nagy, G. 2013. ‘The Delian Maidens and Their Relevance to Choral Mimesis in Classical Drama’, in Gagné, and Hopman, : 227–56.Google Scholar
Neer, R. 2001. ‘Framing the Gift: The Politics of the Siphnian Treasury at Delphi’, CA 20: 273–344.Google Scholar
Neer, R. 2010. The Emergence of the Classical Style in Greek Sculpture. Chicago and London.Google Scholar
Neer, R. 2018. ‘Amber, Oil and Fire: Greek Sculpture beyond Bodies’, Art History 41: 466–91.Google Scholar
Nightingale, A. 2018. ‘The Aesthetics of Vision in Plato’s Phaedo and Timaeus’, in Kampakoglou, A and Novokhatko, A (eds.), Gaze, Vision, and Visuality in Ancient Greek Literature. Berlin and Boston: 331–53.Google Scholar
Nikolaev, A. 2012. ‘Showing Praise in Greek Choral Lyric and Beyond’, AJP 133: 543–72.Google Scholar
Notopoulos, J. A. 1949. ‘Parataxis in Homer: A New Approach to Homeric Literary Criticism’, TAPA 80: 1–23.Google Scholar
Noussia-Fantuzzi, M. 2013. ‘A Scenario for Stesichorus’ Portrayal of the Monster Geryon in the Geryoneis’, Trends in Classics 5: 234–59.Google Scholar
Ober, J. 1995. ‘Greek Horoi: Artifactual Texts and the Contingency of Meaning’, in Small, D (ed.), Methods in the Mediterranean: Historical and Archaeological Views of Text and Archaeology. Leiden: 91–123.Google Scholar
Ober, J. 2006. ‘Solon and the Horoi: Facts on the Ground in Archaic Athens’, in Blok, J. H. and Lardinois, A. P. M. H. (eds.), Solon of Athens: New Historical and Philological Approaches. Leiden: 441–56.Google Scholar
Olsen, S. 2015. ‘Conceptualizing Choreia on the François Vase: Theseus and the Athenian Youths’, Mètis 13: 107–21.Google Scholar
Olsen, S. 2016. Beyond Choreia: Dance in Ancient Greek Literature and Culture. Ph.D. diss., University of California, Berkeley.Google Scholar
Olsen, S. 2017. ‘Kinesthetic Choreia: Empathy, Memory, and Dance in Ancient Greece’. CP 112: 153–74.Google Scholar
Osborne, R. 1988. ‘Death Revisited, Death Revised: The Death of the Artist in Archaic and Classical Greece’, Art History 11: 1–16.Google Scholar
Osborne, R. 2008. ‘Putting Performance into Focus’, in Revermann, M and Wilson, P (eds.), Performance, Iconography, Reception: Studies in Honour of Oliver Taplin. Oxford: 395–418.Google Scholar
Osborne, R. and Pappas, A. 2007. ‘Writing on Archaic Greek Pottery’, in Newby, Z and Leader-Newby, R (eds.), Art and Inscriptions in the Ancient World. Cambridge: 131–55.Google Scholar
Papalexandrou, N. 2003/04. ‘Keledones: Dangerous Performers in Early Delphic Lore and Ritual Structures’, Hephaistos 21/22: 145–68.Google Scholar
Papalexandrou, N. 2005. The Visual Poetics of Power: Warriors, Youths, and Tripods in Early Greece. Lanham, MD.Google Scholar
Pappas, A. 2011. ‘Arts in Letters: The Aesthetics of Ancient Greek Writing’, in Dalbello, M and Shaw, M (eds.), Visible Writings: Cultures, Forms, Readings. New Brunswick: 37–54.Google Scholar
Pappas, A. Forthcoming. ‘Power Play: The Aesthetics of Ancient Inscription at Archaic Thera’.Google Scholar
Payne, H. 1971. Necrocorinthia: A Study of Corinthian Art in the Archaic Period. College Park.Google Scholar
Pemberton, E. G. 2000. ‘Wine, Women and Song: Gender Roles in Corinthian Cult’, Kernos 13: 85–106.Google Scholar
Peponi, A.-E. 2004. ‘Initiating the Viewer: Deixis and Visual Perception in Alcman’s Lyric Drama’, Arethusa 37: 295–316.Google Scholar
Peponi, A.-E. 2007. ‘Sparta’s Prima Ballerina: Choreia in Alcman’s Second Partheneion (3 PMGF)’, CQ 57: 351–62.Google Scholar
Peponi, A.-E. 2009. ‘Choreia and Aesthetics in the Homeric Hymn to Apollo: The Performance of the Delian Maidens (Lines 156–64)’, CA 28: 39–70.Google Scholar
Peponi, A.-E. 2012. Frontiers of Pleasure: Models of Aesthetic Response in Archaic and Classical Greek Thought. Oxford.Google Scholar
Perceau, S. 2002. La parole vive. Communiquer en catalogue dans l’épopée homérique. Louvain.Google Scholar
Petersen, E. A. H. 1917. Rhythmus. Abhandlungen der Königlichen Gesellschaft der Wissenschaften zu Göttingen, Philologisch-historische Klasse 16.5: 1–104. Göttingen.Google Scholar
Pettersson, M. 1992. Cults of Apollo at Sparta: The Hyakinthia, the Gymnopaidiai and the Karneia. Stockholm.Google Scholar
Pfeijffer, I. L. 1999. Three Aeginetan Odes of Pindar: A Commentary on Nemean V, Nemean III, and Pythian VIII. Mnemosyne Supplementum 197. Leiden.Google Scholar
Platt, V. 2011. Facing the Gods: Epiphany and Representation in Graeco-Roman Art, Literature and Religion. Cambridge.Google Scholar
Poltera, O. (ed.) 2008. Simonides lyricus. Testimonia und Fragmente: Einleitung, kritische Ausgabe, Übersetzung und Kommentar. Freiburg.Google Scholar
Porter, J. I. 2010. The Origins of Aesthetic Thought in Archaic Greece: Matter, Sensation, and Experience. Cambridge.Google Scholar
Powell, B. 1988. ‘The Dipylon Oinochoe and the Spread of Literacy in Eighth-Century Athens’, Kadmos 27: 65–86.Google Scholar
Power, T. 2011. ‘Cyberchorus: Pindar’s Κηληδόνες and the Aura of the Artificial’, in Athanassaki, and Bowie, : 67–113.Google Scholar
Prauscello, L. 2011. ‘Patterns of Chorality in Plato’s Laws’, in Yatromanolakis, D (ed.), Music and Cultural Politics in Greek and Chinese Societies. Vol. I: Greek Antiquity. Cambridge, MA: 133–58.Google Scholar
Prauscello, L. 2012. ‘Epinician Sounds: Pindar and Musical Innovation’, in Agócs, P, Carey, C and Rawles, R (eds.), Reading the Victory Ode. Cambridge: 58–82.Google Scholar
Prins, Y. 1991. ‘The Power of the Speech Act: Aeschylus’ Furies and Their Binding Song’, Arethusa 24: 177–95.Google Scholar
Rawles, R. 2011. ‘Eros and Praise in Early Greek Lyric’, in Athanassaki, and Bowie, : 139–59.Google Scholar
Restani, D. 1983. ‘Il Cheirone di Ferecrate e la “nuova” musica greca’, Rivista italiana di musicologia 18: 139–92.Google Scholar
Revermann, M. 1998. ‘The Text of Iliad 18.603–6 and the Presence of an ΑΟΙΔΟΣ on the Shield of Achilles’, CQ 48: 29–38.Google Scholar
Richardson, N. J. (ed.) 2010. Three Homeric Hymns: To Apollo, Hermes, and Aphrodite, Hymns 3, 4, and 5. Cambridge Greek and Latin Classics. Cambridge.Google Scholar
Ridgway, B. S. 1999. Prayers in Stone: Greek Architectural Sculpture (ca. 600–100 B.C.E.). Berkeley and Los Angeles.Google Scholar
Rinon, Y. 2006. ‘Tragic Hephaestus: The Humanized God in the Iliad and Odyssey’, Phoenix 60: 1–20.Google Scholar
Robert, L. and Robert, J. 1954. La Carie II: Le plateau de Tabai et ses environs. Paris.Google Scholar
Roccos, L. J. 1995. ‘The Kanephoros and Her Festival Mantle in Greek Art’, AJA 99: 641–66.Google Scholar
Rothwell, K. 2007. Nature, Culture, and the Origins of Greek Comedy: A Study of Animal Choruses. Cambridge and New York.Google Scholar
Rougemont, G. 2012. Inscriptions grecques d’Iran et d’Asie centrale. Corpus Inscriptionum Iranicarum, Part II, Volume I. London.Google Scholar
Ruffy, M. V. 2004. ‘Visualization and “Deixis am Phantasma” in Aeschylus’ Persae’, QUCC 78: 11–28.Google Scholar
Rutherford, I. 2001. Pindar’s Paeans: A Reading of the Fragments with a Survey of the Genre. Oxford.Google Scholar
Rutherford, I. 2004. ‘χορὸς εἷς ἐκ τῆσδε τῆς πόλεως … (Xen. Mem. 3.3.12): Song-Dance and State-Pilgrimage at Athens’, in Murray, and Wilson, : 67–90.Google Scholar
Sabetai, V. 2009. ‘The Poetics of Maidenhood: Visual Constructs of Womanhood in Vase-Painting’, in Schmidt, S and Oakley, J. H. (eds.), Hermeneutik der Bilder: Beiträge zu Ikonographie und Interpretation griechischer Vasenmalerei. Munich: 103–14.Google Scholar
Sassi, M. 2015. ‘Perceiving Colors’, in Destrée, P and Murray, P (eds.), A Companion to Ancient Aesthetics. Oxford: 262–73.Google Scholar
Scheid, J. and Svenbro, J. 1996. The Craft of Zeus: Myths of Weaving and Fabric. Trans. C. Volk. Cambridge, MA.Google Scholar
Schlesier, R. 2011. ‘Presocratic Sappho: Her Use of Aphrodite for Arguments about Love and Immortality’, Scientia Poetica 15: 1–28.Google Scholar
Schmitt Pantel, P. 1992. La cité au banquet. Histoire des repas publics dans les cités grecques. Rome.Google Scholar
Seaford, R. 1988. ‘The Eleventh Ode of Bacchylides: Hera, Artemis, and the Absence of Dionysos’, JHS 108: 118–36.Google Scholar
Segal, C. 1998. Aglaia: The Poetry of Alcman, Sappho, Pindar, Bacchylides, and Corinna. Lanham, MD.Google Scholar
Shear, I. M. 1999. ‘Maidens in Greek Architecture: The Origin of the “Caryatids”’, BCH 123: 65–85.Google Scholar
Shear, J. L. 1995. ‘Fragments of Naval Inventories from the Athenian Agora’, Hesperia 64: 179–224.Google Scholar
Sinn, U. 1988. ‘Der Kult der Aphaia auf Aegina’, in Hägg, R, Marinatos, N and Nordquist, G (eds.), Early Greek Cult Practice: Proceedings of the Fifth International Symposium at the Swedish Institute at Athens, 26–29 June 1986. Stockholm: 149–59.Google Scholar
Sinn, U. 1992. ‘The Sacred Herd of Artemis at Lousoi’, in Hägg, R (ed.), The Iconography of Greek Cult in the Archaic and Classical Periods (Conference, Delphi 16–18 November 1990). Kernos Supplément 1. Athens and Liège: 177–87.Google Scholar
Sklar, D. 2001. Dancing with the Virgin: Body and Faith in the Fiesta of Tortugas, New Mexico. Berkeley and Los Angeles.Google Scholar
Slater, N. W. 2002. ‘Dancing the Alphabet: Performative Literacy on the Attic Stage’, in Worthington, I and Foley, J. M. (eds.), Epea and Grammata: Oral and Written Communication in Ancient Greece. Leiden: 117–29.Google Scholar
Smith, T. J. 2000. ‘Dancing Spaces and Dining Places: Archaic Komasts at the Symposion’, in Tsetskhladze, G. R., Prag, A. J. N. W. and Snodgrass, A. M. (eds.), Periplous: Papers on Classical Art and Archaeology Presented to Sir John Boardman. London: 309–19.Google Scholar
Smith, T. J. 2009. ‘Komastai or “Hephaistoi”? Visions of Comic Parody in Archaic Greece’, BICS 52: 69–92.Google Scholar
Smith, T. J. 2016. ‘Instant Messaging: Dance, Text, and Visual Communication on Archaic Corinthian and Athenian Vases’, in Yatromanolakis, D (ed.), Epigraphy of Art: Ancient Greek Vase-Inscriptions and Vase-Paintings. Oxford: 145–63.Google Scholar
Snyder, J. 1981. ‘The Web of Song: Weaving Imagery in Homer and the Lyric Poets’, CJ 76: 193–96.Google Scholar
Sourvinou-Inwood, C. 1987. ‘A Series of Erotic Pursuits: Images and Meanings’, JHS 107: 131–53.Google Scholar
Spantidaki, S. 2015.‘Embellishment Techniques of Classical Greek Textiles’, in Harlow, M and Nosch, M.-L. (eds.), Greek and Roman Textiles and Dress: An Interdisciplinary Anthology. Oxford and Philadelphia: 34–45.Google Scholar
Squire, M. 2011. The Iliad in a Nutshell: Visualizing Epic on the Tabulae Iliacae. Oxford and New York.Google Scholar
Squire, M. 2013. ‘Ekphrasis at the Forge and the Forging of Ekphrasis: The “Shield of Achilles” in Graeco-Roman Word and Image’, Word and Image 29: 157–91.Google Scholar
Stansbury-O’Donnell, M. 2006. Vase Painting, Gender, and Social Identity in Archaic Athens. Cambridge.Google Scholar
Stehle, E. 1996. ‘Sappho’s Gaze: Fantasies of a Goddess and Young Man’, in Greene, E (ed.), Reading Sappho: Contemporary Approaches. Berkeley and Los Angeles: 193–225.Google Scholar
Stehle, E. 1997. Performance and Gender in Ancient Greece: Nondramatic Poetry in Its Setting. Princeton.Google Scholar
Steiner, D. T. 1994. The Tyrant’s Writ: Myths and Images of Writing in Ancient Greece. Princeton.Google Scholar
Steiner, D. T. 2001. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton.Google Scholar
Steiner, D. T. 2005. ‘For Want of a Horse: Thucydides 6.30–2 and Reversals in the Athenian Civic Ideal’, CQ 55: 407–22.Google Scholar
Steiner, D. T. 2009. ‘Pot Bellies: The Komast Vases and Contemporary Song’, in Yatromanolakis, D (ed.), An Archaeology of Representations: Ancient Greek Vase-Paintings and Contemporary Methodologies. Athens: 240–82.Google Scholar
Steiner, D. T. 2011. ‘Dancing with the Stars: Choreia in the Third Stasimon of Euripides’ Helen’, CP 106: 299–323.Google Scholar
Steiner, D. T. 2012. ‘The Swineherds’ Symposium: Od. 14.457–533 and the Traditions of Sympotic Poetry’, QUCC 100: 117–44.Google Scholar
Steiner, D. T. 2013a. ‘The Gorgons’ Lament: Auletics, Poetics and Chorality in Pindar’s Pythian 12’, AJP 134: 173–208.Google Scholar
Steiner, D. T. 2013b. ‘The Priority of Pots: Pandora’s Pithos Re-viewed’, Mètis n.s. 11: 207–34.Google Scholar
Steiner, D. T. 2016a. ‘Making Monkeys: Archilochus fr. 185–7 W in Performance’, in Cazzato, V and Lardinois, A (eds.), The Look of Lyric: Greek Song and the Visual. Studies in Archaic and Classical Greek Song 1. Leiden: 108–45.Google Scholar
Steiner, D. T. 2016b. ‘Harmonic Divergence: Pindar’s fr. 140b and Early Fifth-Century Choral Polemics’, JHS 136: 132–51.Google Scholar
Steinhart, M. 2007. ‘From Ritual to Narrative’, in Csapo, E and Miller, M. C. (eds.), The Origins of Theater in Ancient Greece and Beyond. Cambridge: 196–220.Google Scholar
Svenbro, J. 1993. Phrasikleia: An Anthropology of Reading in Ancient Greece. Trans. J. Lloyd. Ithaca.Google Scholar
Svenbro, J. 2008. ‘Grammata et Stoikheia. Les scholies à La Grammaire de Denys Thrax’, Kernos 21: 197–210.Google Scholar
Swift, L. 2011. ‘Epinician and Tragic Worlds: The Case of Sophocles’ Trachiniae’, in Athanassaki, and Bowie, : 391–413.Google Scholar
Swift, L. 2013. ‘Conflicting Identities in the Euripidean Chorus’, in Gagné, and Hopman, : 130–54.Google Scholar
Swift, L. 2016. ‘Visual Imagery in Parthenaic Song’, in Cazzato, V and Lardinois, A (eds.), The Look of Lyric: Greek Song and the Visual. Studies in Archaic and Classical Greek Song 1. Leiden: 255–87.Google Scholar
Tanner, J. 2006. The Invention of Art History in Ancient Greece: Religion, Society and Artistic Rationalisation. Cambridge and New York.Google Scholar
Taplin, O. 1993. Comic Angels: And Other Approaches to Greek Drama through Vase-Painting. Oxford.Google Scholar
Themelis, P. G. 1992. ‘The Cult Scene on the Polos of the Siphnian Karyatid at Delphi’, in Hägg, R (ed.), The Iconography of Greek Cult in the Archaic and Classical Periods (Conference, Delphi 16–18 November 1990). Kernos Supplément 1. Athens and Liège: 49–72.Google Scholar
Thomas, E. 2015. ‘The Beauties of Architecture’, in Destrée, P and Murray, P (eds.), A Companion to Ancient Aesthetics. Chichester: 274–91.Google Scholar
Thompson, H. A. and Wycherley, R. E.. 1972. The Agora of Athens: The History, Shape, and Uses of an Ancient City Center. Vol. XIV. Princeton.Google Scholar
Topper, K. 2007. ‘Perseus, the Maiden Medusa, and the Imagery of Abduction’, Hesperia 76: 73–105.Google Scholar
Topper, K. 2010. ‘Maidens, Fillies and the Death of Medusa on a Seventh-Century Pithos’, JHS 130: 109–19.Google Scholar
Trinkl, E. 2015. ‘The Wool Basket: Function, Depiction and Meaning of the Kalathos’, in Harlow, M and Nosch, M.-L. (eds.), Greek and Roman Textiles and Dress: An Interdisciplinary Anthology. Oxford and Philadelphia: 190–206.Google Scholar
Trümper, M. 2012. ‘Gender and Space, “Public” and “Private”’, in James, S. L. and Dillon, S (eds.), A Companion to Women in the Ancient World. Chichester: 288–303.Google Scholar
Tsagalis, C. 2009. ‘Blurring the Boundaries: Dionysus, Apollo and Bacchylides 17’, in Athanassaki, L, Martin, R. P. and Miller, J. F. (eds.), Apolline Politics and Poetics. Athens: 199–215.Google Scholar
Tuck, A. 2006. ‘Singing the Rug: Patterned Textiles and the Origins of Indo-European Metrical Poetry’, AJA 110: 539–50.Google Scholar
Umholtz, G. 2002. ‘Architraval Arrogance? Dedicatory Inscriptions in Greek Architecture of the Classical Period’, Hesperia 71: 261–93.Google Scholar
Urton, G. 1997. The Social Life of Numbers: A Quechua Ontology of Numbers and Philosophy of Arithmetic. With the collaboration of Primitivo Nina Llanos. Austin.Google Scholar
Vamvouri Ruffy, M. 2004. La Fabrique du divin: les Hymnes de Callimaque à la lumière des Hymnes Homériques et des hymnes épigraphiques. Liège.Google Scholar
Verdenius, W. J. 1987. Commentaries on Pindar. Vol. I. Mnemosyne Supplementum 97. Leiden.Google Scholar
Vierneisel, K. and Scholl, A. 2002. ‘Reliefdenkmäler dramatischer Choregen im klassischen Athen. Das Münchner Maskenrelief für Artemis und Dionysos’, Münchner Jahrbücher der bildenden Kunst 53: 7–55.Google Scholar
Vlachou, V. 2016. ‘Image and Story in Late Geometric Attica: Interpreting a Giant Pitcher from Marathon’, in Carpenter, T. H., Langridge-Noti, E and Stansbury-O’Donnell, M. D. (eds.), The Consumers’ Choice: Uses of Greek Figure-Decorated Pottery. Boston: 125–51.Google Scholar
Watson, J. 2011. ‘Rethinking the Sanctuary of Aphaia’, in Fearn, D. (ed.), Aegina: Contexts for Choral Lyric Poetry. Oxford: 79–113.Google Scholar
Webb, R. 1999. ‘Ekphrasis Ancient and Modern: The Invention of a Genre’, Word and Image 15: 7–18.Google Scholar
Webb, R. 2006. ‘The Imagines as a Fictional Text: Ekphrasis, Apatê and Illusion’, in Costantini, M, Graziani, F and Rolet, S (eds.), Le défi de l’art: Philostrate, Callistrate et l’image sophistique. Rennes: 113–33.Google Scholar
Webb, R. 2009. Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice. Farnham.Google Scholar
Weiss, N. A. 2018. The Music of Tragedy: Performance and Imagination in Euripidean Theater. Oakland, CA.Google Scholar
West, M. L. 2015. ‘Epic, Lyric, and Lyric Epic’, in Kelly, A and Finglass, P. J (eds.), Stesichorus in Context. Cambridge: 63–80.Google Scholar
Whitley, J. 1994. ‘Protoattic Pottery: A Contextual Approach’, in Morris, I (ed.), Classical Greece: Ancient Histories and Modern Archaeologies. Cambridge: 51–70.Google Scholar
Wilson, P. 1999/2000. ‘Euripides’ “Tragic Muse”’, in Cropp, M, Lee, K and Sansone, D (eds.), Euripides and Tragic Theatre in the Late Fifth Century. ICS 24–25. Champagne: 427–49.Google Scholar
Wilson, P. 2000. The Athenian Institution of the Khoregia: The Chorus, the City and the Stage. Cambridge.Google Scholar
Wilson, P. 2007. ‘Performance in the Pythion: The Athenian Thargelia’, in Wilson, P (ed.), The Greek Theatre and Festivals: Documentary Studies. Oxford: 150–82.Google Scholar
Wilson Jones, M. 2002. ‘Tripods, Triglyphs, and the Origin of the Doric Frieze’, AJA 106: 353–90.Google Scholar
Wilson Jones, M. 2014. Origins of Classical Architecture: Temples, Orders and Gifts to the Gods in Ancient Greece. New Haven and London.Google Scholar
Wilson Jones, M. 2015. ‘Greek and Roman Architectural Theory’, in Marconi, C (ed.), The Oxford Handbook of Greek and Roman Art and Architecture. Oxford: 41–69.Google Scholar
Yalouris, N. 1980. ‘Astral Representations in the Archaic and Classical Periods and Their Connection to Literary Sources’, AJA 84: 313–18.Google Scholar
Zeitlin, F. I. 1993. ‘The Artful Eye: Vision, Ekphrasis, and Spectacle in Euripidean Theatre’, in Goldhill, S and Osborne, R (eds.), Art and Text in Ancient Greek Culture. Cambridge: 138–96.Google Scholar
Zeitlin, F. I. 1996. ‘Mysteries of Identity and Designs of the Self in Euripides’ Ion’, in Playing the Other: Gender and Society in Classical Greek Literature. Chicago and London: 285–338.Google Scholar